“King of Corns” is an ensemble piece constructed by Italian experimentalist Enrico Coniglio (last seen on these pages with his collaboration with Mateo Uggeri on the Dronarivm. This particular release on double LP, CD and digital saw the light of day through the US label Infraction, hone to the likes of Offthesky & Pleq, Celer, Northern and others. It features outstanding art and layout from James and Heginbottom and Chris Bigg with deft mastering by James Plotkin.
According to the label “The My Home, Sinking project is one that has been in the works for well over a year. Enrico Coniglio is the artist behind the MHS name. He collaborated with a multitude of other artists and vocalists on “King of Corns”. It is a combination of Talk Talk’s latter-day “Spirit of Eden / Laughing Stock” style of restrained tension, experimental chamber music akin to Rachel’s, chilling vocal deliveries, Finnish Folk and windswept ambience”.
I will admit being bewildered by this release. Some records have tracks that sound familiar with the artist having their ‘style’, others have tracks that have their own feel, some follow a narrative, while others can be quite experimental where it is not easy to put your finger on what the artist is doing. This album falls in the latter category and requires, for me, repeated listening to get my head around it.
On the album Coniglio plays Guitars, Melodica, Harmonica, Horn, Electric Organ, Synthesizer, Psalter, Tapes & Vinyl, Found Objects and Field Recordings. As well as individual artists on particular tracks he is joined by Elisa Marzorati on Piano and Piergabrielle Mancuso on Viola.
“Bird’s Eye” starts with bell sounds, static, warped drones that sound treated, arching drones, Melodica and minimalist piano. There is a rumbling sound to the drones and straight away that Spirit of Eden influence comes through via the Melodica and the starkness of the piano. The drones feel like they are cut up as they intersect the sound palate and have a feeling of like being generates by a train on tracks, not that they have the sound, more like the undulations of sound that you would expect on a train track. In a way the sound palate for the album is introduced slightly with this opening track, but by no means defines what the rest will sound like.
“D’automne (The Sobs of the Violin)” has a repetitive guitar piece accompanied by piano stabs, sounds similar to those of a cash register and lamenting violin sounds. The elements are in a way are disparate as while the piano and the violin occupy a similar musical tone, the guitar playing is off kilter and rolls like a drunken man. There is a very folkish feeling to the track, but one that is sinister and slightly unhinged. Even though it is off kilter, it is the guitar with its rollicking playing which gives the track its rhythm, however off-center for the other elements then to attach themselves to.
“King of Corns” featuring Jessica Constable on vocals is a dark and sinister piece with Constable’s eerily almost indecipherable falsetto vocals that remind ever so slightly of Diamanda Galas along side a filmic soundscape of horror like suspenseful electronics that lurk around the tracks darker areas before revealing themselves towards the end of the track. Marzorati’s piano is used sparingly, but effectively adds to the sinister menace of the track.
“Animating Old Postcards (Aikaa ei Ole Olemassa)” features Violetta Päivännkkara on vocals, glockenspiel and effects. The acoustic guitar surrounded by a summery hum accompanies Päivännkakara’s childlike innocent vocals and the wispy drones of the Melodica. Shuffling, almost brushed percussion effects are added as well as chimes, glockenspiel which add to the vocal quality and give it a totally different feel to the previous tracks. Where the title track as all dark atmosphere, this one is the flip side of pure innocence, but still inhabiting a folk territory.
“Love Scene” features Peter Paul Gallo on vibraphone starts with a backwards loop effect, affected guitar and slow long violin lines which are lyrical in their playing. The vibraphone adds a crystalline sound which goes well with the backwards loops and provides a totally different texture to the violin. The guitar varies from being strummed, to plucked to being manipulated which works well with the loops. If this was a soundtrack to a movie I am not entirely sure what the visual representation for a love scene would be based on the sound of the track.
“Bird’s Eye (Interlude)” dark drones, distant violin, field recordings of blown air and static, piano form the sound elements to the track and are like the opening track, but one that has been stripped of its elements and reformed using not all the constituent parts to form a ghostly version. Not a remix or a reprise, but like a reduction of the opening track.
“The Day the Earth…(Clock is Ticking)” echoing electronics that sound like sonar blips and acoustic guitar and distant sounds that are looped, but then seem to come out as this growing drone from which scraping and long bowed violin appear and work in staccato fashion. The acoustic guitar has short, but repetitive pieces which act as like a metronome. Clicking glitches, minimalist piano stabs, horns and a plucking sound add to the noir-ish quality of the piece which sounds experimental, but at times both modern and retro it its styling.
“Rachel on the Beach” fractured field recordings or tape loops that are shuffling in nature are joined by acoustic guitar which is paired with piano alongside drones and the sound of detritus or shells rubbing together. The piano that reminded me of the sound of Spirit of Eden is back to the point where I am expected minimalist Mark Hollis singing and horns wailing. Instead violin that is layered joins in and has a slightly subdued, but reflective quality.
“I can’t help it (But this is the end)” features Chantal Acda on vocals and features Peter Paul Gallo on vibraphone starts with an ambient drone, guitar, vibraphone, piano and electronics. There is shimmering quality that is brought out of the vibraphone that adds to the track. Harmonica enters the sound just before Chantal Acda transcendent vocals enter the track. I could happily listen to Acda sing the phone book such is the quality of her voice. The harmonica that enters where she sings “This is the end” brings the track up to another level. As well as the piano, the electronics of an unknown nature steer this unconventional conventional track to its end. Probably the highlight of the album.
“Along the Pipeline” features James Murray on Organ, Vocals and Loops starts with field recordings, strummed drones which radiate outwards, piano stabs heavy in sound and minimally spaced, with ethnic sounds and low pulsing electronic loops that start pulsing metronomically. Ethereal vocals briefly enter and depart and enter again, but it is the stark minimalist piano that is the instrument that is the key to bring on the other elements. It feels like it controls the mood and the pace while giving space for the other elements to find their position. The track is like an experimental chamber piece with a noir-ish, but electronic edge.
“Full Blank (No Stars)” featuring Jessica Constable on vocals and James Murray on Electronics starts with tape loops and Constables layered falsetto and emotional singing over distant sounds of piano and violin, drones and scattered electronics that have a storm ravaged like quality. There is a dark underbelly of electronics that are indistinguishable, but add to the menacing quality of the track. I have to admit not knowing what Ms Constable is singing about, but her vocal delivery is truly frightening.
As I stated before, I am totally bewildered by the album. When I think I have a handle on it, I am thrown into left field. But, by not being able to easily pigeon-hole it, it is open to more interpretation and revealing of all the layers. I would describe Coniglio as an experimental composer with an ear for construction and also for layering and working with disparate sound sources. If you like going down the rabbit hole, this album may be for you.