This complete download version of MY LONG ACCUMULATING DISCONTENT contains the original 2004 mix of the album, an enhanced 2011 mix and 9 bonus tracks.
The 9 bonus remixed tracks were intended to come as an extra disc with the original album, this initial plan was later abandoned. This is the first time the complete remixes have been made available.
The enhanced 2011 mix is remastered and has been adapted into a binaural mix. The result of the binaural mix should spatially transcend normal stereo, since it can accurately reproduce the effect of hearing a sound in person, given the 360° nature of how human ears pick up nuance in sound waves. Binaural recordings can convincingly reproduce location of sound behind, ahead or above. Any set of headphones that provide good right and left channel isolation are sufficient to hear the immersive effects of the recording and anyone who has even a cheap set of headphones can enjoy these recordings.
For optimum listening experience in ‘3D’ you must use headphones. To enhance this listening experience it is recommended that you play back the enhanced mix in a dark room, eyes closed and with no exterior distractions.
The most important and pleasing aspect of Andrew Liles' latest full-length is that it doesn't depend on any one formula, nor does it ever venture into the realm of total and complete chaotic madness. At times the music is wonderfully melodic, featuring ballroom-like music circa 1930s or 1940s and, at other times, it is an admixture blossoming with strange digital reverberations and analogue distortion. Most notably, however, My Long Accumulating Discontent features intelligible vocal parts and nearly unedited instrumental passages. His music is ever-expanding and finding new modes of existence. There is no sense here in talking about drones or noise. Though the music can be a collage of random samples and instruments at times, this record also features a queer and convincing logic that stems from its almost antique sound. Tracks like "Dissolved (Te Whare Ao Aitu)" and "The Sour Accompaniment" make a direct appeal to antiquity and play on the notion that these songs are all part of some morbid dream set far in the past; almost like Tim Burton's vision of America at the turn of the century. On the other hand, there are soft and fluid pieces such as "The Children's Infirmary or Precious and Sugar Foot" and "A Cold Spring in Summerland" that play off less familiar sounds and structures. While sounding distinct and perhaps more inviting than their musical neighbors, they ooze an aroma woven out of dust, old age, and memories better forgotten. I have an inkling of an idea that there is some form of a band environment behind these seventeen tracks—saxophones, nervous cymbals, melodic vocal parts, and narrative elements all play a part in various places—and there is, periodically, a very direct and uplifting song structure that stands out among the other pieces without being a show-stealer. I doubt Liles is forming a familiar band whatsoever, but the music that's ushered forth from his mind and those of the musicians used on this album is undoubtedly more structured and mesmerizing than anything else I've heard from him. Despite this, he's also managed to maintain the haunting, demonic, and perverse demeanor that makes his music so unique and alluring. It's the addition of new sounds and structures to his music plus his ability to manipulate those structures that make this record stand out so sharply in my collection. Songs like "An Unkempt Garden or the Cod Cape" and "The Captain's Apprentice" are the most emotionally stunning songs I've heard come from Liles and it is in their shape and movements that they become so remarkable. It's a shame that I missed this record in 2004, it deserves a great deal of attention as it is one of the most exciting records I've heard from the realm of all music subconscious and spectral. - Lucas Schleicher www.brainwashed.com