Andrew Liles – My Long Accumulating Discontent

  • Catalogue Number : ERA 2035-2
  • EAN: 8594048312352
  • Release Date: 30.08.2004
  • Limited edition of 1.000 CDs 

‘My Long Accumulating Discontent’ is the fourth and certainly the strangest recording from Andrew Liles. This CD is in places more ‘melodic’ than Liles’ previous output and its 17 tracks cover a wide musical territory. Some songs are short and harmonious, other pieces are longer, subtle and contemplative with drifting delicate drones. In places the CD is truly bizarre and defies all conventions. The album doesn’t fit easily into any definable bracket and we feel this oddity belongs in a class all of its own. Traditional English vernacular culture connoisseur Andrew King joins Andrew Liles for one track and Aaron Moore and Nick Mott of Volcano the Bear contribute to several other songs. ‘My Long Accumulating Discontent’ is a distinct and peculiar excursion from the norm.


  1. Is there anybody there?  7:35
  2. Skobniki  3:55
  3. The Ether Reel  3:02 
  4. Dream of the One Legged Woman (Version)  1:21
  5. Dissolved (Te Whare Ao Aitu)  2:48
  6. Dormiveglia  3:57
  7. The New Motor or The Wonderful Infant  1:12
  8. The Children’s Infirmary or Precious and Sugar Foot /feat. Volcano The Bear/  3:14
  9. A Cold Spring in Summerland /feat. Melon Liles/  2:19 
  10. My Long Accumulating Discontent /feat. Volcano The Bear/  7:06 
  11. An Unkempt Garden or the Cod Cape  3:48
  12. Last Orders /feat. Volcano The Bear/  3:25
  13. The Captain’s Apprentice /feat. Andrew King/  4:40
  14. Shadow Song  1:10
  15. The Mind as an Engine that Hitherto Ceases to Function Correctly 2:04 
  16. The Sour Accompaniment /feat. Volcano The Bear/  1:29
  17. By Sewers’ Side /feat. Jackie Pickup/  1:40

Total Time: 54:47

All music written, recorded, stolen, mixed & engineered by Andrew Liles except for tracks 8, 10, 12 and 16 which are written by Andrew Liles, Aaron Moore and Nick Mott. Track 13 is a traditional song sung by Andrew King with music arranged by Andrew Liles. Melon Liles plays recorder on track 9, Jackie Pickup narrates on track 17, Aaron Moore and Nick Mott play Cymbals and Toms on track 8, Cymbals and Bowed Vibes on track 10, Saxophone, Vibes and Voice on track 12 and wooden Kazoo and Vocal on track 16. 

Gratitude and thanks to Mr. King, Mrs. Liles, Mr. Moore, Mr. Mott and Miss Pickup for helping make this recording and the ever reliable Mr. Roast. Track 9 is dedicated to Mr. Mitchell and track 15 is in memory of the long departed Julie-Anne. Extra special thanks go to Colin Potter and Steven Wilson without whom none of this would have been possible. 




From Brainwashed

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 /

From Vital Weekly

For long time readers of Vital Weekly the name of Andrew Liles should be a familiar one. In the past he has released his works on his own label, but also on Infraction Records from the USA and now a new album on the Czech label Nextera. As on his recent CD's 'Aural Anagram' and 'All Closed Doors', Andrew Liles has by now a refined personal style.Processing sounds through his equipment (mainly a synth and loads of sound effects), adding 'field' recordings, which in Liles' case is mostly voices of children but also an almost neo-folk singer in 'The Captain's Apprentice', thus creating a highly surreal soundscape. As noted before the influence of Nurse With Wound is never far away here in Liles' work, but I must also note that Liles develops his style more and more and it's in these special, small refinements that he builts quite a strong CD. Maybe the strongest so far. Some of his previous works were maybe a bit too uniform, dwelling too much on one idea, but here he takes his various ideas - ambient, musique concrete, electronic and surreal hörspiel - into account, and uses for each of the seventeen tracks elements from these ideas. Although I am not sure what the underpinning theme is here, I believe (so I am told) that it has to do with the current state of England - the violence, the pub closing early so everybody drinks too much - and that is was never any different. Liles uses old english songs to make his point clear. Maybe for the non-native english man this is all hard to understand, and it is a damm fine album. (FdW)