In the EP ‘Move’, the Sloth of the Metropolis was forced to go flat hunting and found a mysterious manuscript whilst clearing out his old house. In ‘Origins’, the Sloth opened up the manuscript and read the story of Aengus Rudach—a Scottish bard and Alchemist from the 17th century who sailed to a mysterious island in the Atlantic after being accused of witchcraft. Aengus put together an alchemical experiment, aiming to combine the superhuman powers of the Island’s two inhabitants, the ‘Master of Matter’ and the ‘Master of Mind’. Instead of the perfection he hoped for, Aengus found himself transformed into a blissfully static sloth.
In the new album, ‘Humanise’, we turn to the Next Page of the manuscript and find a combination of lyrics, music and ceremonial instructions known as the ‘Songs of Aengus’. The gist of the ritual is simple. Step one: bring together 4 musicians. Step two: compose 4 songs. Step three: perform them live or record them for an outside audience. Step four: let the transformation begin.
Sloth Metropolis have recorded their attempt at the ritual found in the Songs of Aengus. Listen on to find out their results.
released September 18, 2020
Alastair Milton: keys and sax
Calum Calderwood: electric-violin and vocals
Peter Fleming: bass and backing vocals
Steve McNamara: drums and percussion
Alistair Homer: trumpet
Eilidh Harris: backing vocals
Nick Gaughan: synths and backing vocals
Randolph Edwards: backing vocals and sloth personifications
Additional crowd noises by Chloe Josse, Maria Chiappa, Nadia Palma and Brenden Crow.
Music by Sloth Metropolis
Lyrics by Calum Calderwood
Recorded at 16 Ohm Studio by Tommy Duffin
Mixed by Omar Aborida
Mastered by David Elliott
Artwork & design by Calum Calderwood and Peter Fleming
Photography by Demelza Kingston (Oculus Sinistra)
No guitars (except bass) were used in the making of this album.
This is perplexing me to ... peace*. What? An 18piece ensemble - using e.g. sitar, dulcitone, bassoon, kendang, erhu besides "normal" winds, strings, keys & percs - plays something between ±modern but un-bulky melodic chamber and multi-ethno-/world-music. First, compositions seem very easy to "digest". Then, I (you?) get perplexed by their shrewdly balanced complexities, bringing me (you?) balmy & *peaceful exitement; reliably every time I (you?) listen. Thank you, Charlie Cawood! ROWIAL