House Number 44 is the first volume of The Composite Moods Collection, a new cycle of Dalhous recordings that examines the relationship between two individuals co-habiting in the same confined space - their interactions, their sense of self and of each other, and the pregnant space between. One of these people, the protagonist (if you like) of House Number 44, is, or at least believes themselves to be, in fine mental health. The other appears distinctly unwell – detached, isolated, often feeling helpless and unable to influence the world around them; at other times prone to committing acts of extraordinary aggression and manipulation.
The title of The Composite Moods Collection nods to the world of film and library cues, riffing on the utilitarian idea of music “to suit the mood” and the appealing if archaic notion that a “mood” can be a discrete or fixed thing, a unit of feeling. Dalhous’s Marc Dall takes this notion and runs with it: he attempts to convey a bipolarity of mood, each movement contradicting or erasing what came before, making progress impossible. An illness that underpins and sabotages every thought. And so, while a finely crafted and very deliberate narrative connects each cue to the next, it is not a smooth or a linear path. On the contrary it is jarring, complex, subject to severe and sudden modulations; one step forward, two steps back.
Longtime followers of Dalhous will observe that House Number 44 contains some of their sparsest, most malevolent-sounding work to date (see especially the brooding synthesizer throb of ‘Response To Stimuli’ and ‘End Of Each Analysis’) but some of their most disarmingly beautiful too, with indelible melodies and atmospheres as deep as thought: ‘Methods of Élan’, ‘On A Level’, the elegiac ‘Lines To Border’. Dall’s enduring affection for neo-noir film scores of the ‘80s and early ‘90s, with their gleaming electronics and submerged existential torment, is more palpable here than ever, and you may hear echoes too of Klaus Schulze, Pete Namlook, or Eno’s The Shutov Assembly – but Dalhous continue to plot their own course, obsessively and meticulously, oblivious to contemporary trends and unconstrained by historical influence; driven, indeed, by their own demons.
Debuting on Blackest Ever Black with their E.P Mitchell Heisman (2012), the Edinburgh-based project have gone on to release
four Studio Albums. An Ambassador For Laing (2013), Will To Be Well (2014) and two volumes of their proposed trilogy titled The Composite Moods Collection, which includes House Number 44 (2016) and Point Blank Range (2021)...more