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Sounding off with a heavily-burbling bassline and percussive interplay that creates an infectious, in-the-pocket, lockstep groove punctuated by the call and response of a horn section that swings with a sense of brassy swagger, "Black Light Trap”, the first track from Shriekback’s 1986 release, “Big Might Music” unwinds with a real sense of percolating rhythm. On this release, Shriekback committed to laying tracks down to the furthest possible extent through the employment of live instrumentation, a radical departure that can trace the spark of its genesis to 1985’s “Oil and Gold” (widely considered to be their most enduring work) and one that gives this recording a surpassing level of engagement and intimacy.No real aggressively insistent, uptempo track, such as “Nemesis” or “Malaria” from its immediate predecessor, “Oil and Gold” populates “Big Night Music” with the exception of “Running On The Rocks”; “Black Light Trap” and “Sticky Jazz” display some movement toward a quiescent/aggressive dynamic, but only in their refrains, with the balance heavily weighed toward the former than the latter, an intensity expressed primarily in the form of simmering tension not only on those tracks, but “Gunning For The Buddha” as well. Shriekback also nestled “The Shining Path” and “Underwater Boys” on this release; the former a meditative, evocative track with almost spectral overtones, recalling “This Big Hush” from “Oil and Gold”, wistfully haunting; the latter, a ruminative affair, unwinding with a slipstream effect driven by the percussive instruments, seamlessly integrated with the floating, ambient overwash of a synsthesizer and moving with a pronounced organic flow. “Pretty Little Things” is driven by offbeat percussive effects and Barry Andrew’s falsetto reading of the lyrics, while “The Reptiles And I” unfolds within the context of a strange, deliberate, almost ouroboric groove, punctuated during each refrain with the distinctive sound of handbells rung in descending fashion, the track in its entirety conjuring up a feeling of sinister enchantment. The only real misfire on here is “Exquisite” a jazzy number that interrupts the lush, enveloping universal thread that otherwise runs through the entire releaseShriekback generally stood out from the pack of many post-punk bands due to Andrews’s clever lyrics; most of them appear to be the product of an excitable, questing, and quickly apprehensive mind. They’re focused, yet freely associative, and often scan and sound like true poetry, sensitively written , incisive, enlightening, and insightful; it’s obvious that Andrews put considerable thought and energy into composing them, and they’re just as captivating as the music in which they’re embedded. While not quite up to the level of “Oil and Gold”, it’s definitely an extremely worthy successor, and well worth snagging, if you can find a copy here, as it hasn’t yet been re-released.