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The Pukes of a Hot Cloister

by moff skellington

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about

The dark days of January 2012 were brightened somewhat by the arrival of a The Pukes Of A Hot Cloister album. As usual there was a feast of lyrical athleticism, Moff plucks words out of the ether and re-arranges them in a completely unique and totally compelling way. This album is particularly full of memorable “Moffism’s”, too many to mention and all rather special, there is some degree of continuity from prior releases in parts, with several references to molecules, and the usual bovine references that are scattered across the albums, and the opening instrumental “House of New Bricks” is quoted in the words/music of the penultimate track “Four Peg Wooden Unit”. Two of the tracks “Time for Nervous Questions In The Pub” and “Confident of Pending Treats” formed part of the six song set Moff recorded for my “Reformation” radio show, the other four appearing on the previous years Embers from the Rapid Eye album, so there is some specific continuity between those two albums. As is usual with Moff you know what you are going to get – the difference with each album though is how he has progressed his art and which particular parts of his “dreamscape” he is addressing in this instance.

The opening “House of New Bricks” sets the scene with a stately waltz around the accordion with bluesy harp wailing – this soon transforms into the strange and somehow beautiful “Crap and Ugly Toys” which is Eddodi in its purest sense. From there on we are gently led through a journey of fascinating words and unique music. A contemporary “manifesto” of Moff’s work, whether it be his art or his music, described a reality comprising three interacting factors – octoberness, perfection and slapstick. Simply put these three elements , anticipation, entropy, and the essentially comedic nature of existence, intertwine to allow innovation, expression and interpretation. I am resisting the urge to release spoilers about the content of this album as I believe that the listener should absorb this marvellous work and draw their own conclusions from the text/sound. All I will say is that the other-worldliness of Moff’s output is never more apparent as it is here. He has always been unique. no one else is doing music like this – it just seems he has built on his work to date to create something rather special. Variety is the watchword here and it is all good. Comparisons, bench-marks, yardsticks etc are impossible so the listener needs to approach it from his/her perspective.

It is with great pleasure that we re-release this album for wider consumption.

Bob Osborne, The Kennel. April 2019

credits

released May 3, 2019

Moff Skellington - singing, talking accordion, melodica, harmonicas, whistles, ukulele, guitar, huttyphone, stylophone, bodhran, jaw harp, kalimba, dulcimer, metronome, tenor horn, baritone euphonium, various percussion and elastic bands..

Everything is recorded in real-time, there is no cut and paste, no sampling, no drum machines, in fact nothing artificial at all, except perhaps the stylophone.

Originally released 2012

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moff skellington Leeds, UK

Moff's chosen musical form is that of Edoddi, a species of folk music which celebrates the very individual and often skewed perceptions of the world engendered by modern life. Edoddi provides a refreshing alternative to the prescriptions and formulas of mainstream and "alternative" folk music. Edoddi philosophy: nothing is arbitrary. Make it up as you go along, it's bound to be authentic! ... more

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