“Choppers,” Radar would say, meaning that medi-vac helicopters were headed toward M*A*S*H 4077th.
Inevitably, someone else would say, “I don’t hear anything.”
Radar would respond, “Wait for it,” as he sped off to make the camp announcement. Living up to his nickname, Radar was always right; the choppers were on their way.
With Airiel’s The Battle of Sealand and ILAD’s National Flags, take Radar’s words to heart when you first press play. Wait for it. Both albums begin with sprawling introductions that may fool you into thinking there’s not much coming, but wait for it. The choppers—electronica-tinged rock music whirlybirds—are on their way.
Madchester’s Landing Zone: Airiel
Wait for the aerial choppers of Airiel to land, because when they do, it’s a Madchester Landing Zone.
Wait for it on the “Introduction” for Airiel’s The Battle of Sealand. The track is a maxed-out “Where the Streets Have No Name” (U2) keyboard intro wash with a nice acoustic guitar addition plus some Morrissey-style sound effect/voice samples.
When the skids finally hit the ground, Chicago’s Airiel rolls off with a Britrock that has enough leather in the sound to be the Mighty Lemon Drops but also cruising along with the Manchester disco rock of the Stone Roses, Happy Mondays, and Inspiral Carpets. “Thrown Idols” adds another layer with the way Ned’s Atomic Dustbin brought in thrash.
“Sugar Crystals” reaches back for New Order, as it sounds like something from the Pretty in Pink soundtrack, although opening up the dusty House of Love and also borrowing from contemporaries Royksopp. In contrast, the black leather guitar comes back for “You Kids Should Know Better”—putting a Black Rebel Motorcycle Club sound together with electronic dance.
Preambles & Constitutions: ILAD
Over a revolving light sound akin to the Steve Miller Band’s “Fly Like an Eagle,” ILAD presents their “Preamble” to National Flags. Slowly to rise out of the ether, think dimmest blue light on stage, a shadowed-singer barely hums a hymn-like melody. Wait for it, because here come ILAD with the body of the Constitution of musical freedom.
“D.O.I.” is all shoegazer samples and loops except for strong hints of Americana the like of which led me to put the electronica-influenced Loner in AltCountry. Emotionally, “National Flags” is a lilting brood. “Someday” takes the 60’s pop harmonies of Autumn Defense and slows them down to find a Pink Floyd-like ballad.
Meanwhile, on “Babel,” it’s a faint scat together with ambient noise that are laid on top of the jazz club drum ‘n’ bass. The jazz licks continue on the subdued Americana road tune “Looking Glass” with its strong Bela Fleck influence.
“You Don’t Need That S**t” combines jazz rocks like the Majestic Twelve, surf rock revisited like the Weisstronauts, and the weird musings of Camper van Beethoven. The rhythmic quietude of “Holy Wars” is like finding !!! when they’re sleeping—their pulse keeps going, but there’s a quiet reverie.
The album closes with an alternate version of “Preamble” working as a going out to sea outro, although it is not nearly as compelling as the version chosen for track 1. Although, “Preamble (Alt)” would work as a set closer, although only if you encouraged people to walk out as the band played, the crowd exiting becoming the visual for ILAD’s closing credit music.
ILAD’s music works like that—putting you in some movie that you didn’t know was being filmed as you go through your day.
Thanks to Airiel, Highwheel Records, and ILAD for the review CDs.
