Fresh from 1986 - and recently re-edited by John Talabot - documents do not get any more Balearic than this.... Spanish trio Ishinohana's debut album is rich in cosmic attitude. At points daydreaming while the sand laps at its toes (the lilting nylon strings and soft padded hand drums of "Lucia", the overlapping guitars and galloping refrains of "La Flor De Piedra"), at others a much darker, more spacious star-gazing affair (the Arabic dreams of "El Beso Negro") and at others a heavier rhythmic, floor-minded approach (the lolloping bass and reggae-wise strums of "Variacion 23") this is a timeless document that befits situations and sceneries that existed long before this record was conjured up... And will remain so for generations after. Stunning.
Given that they released their first 12" nearly 20 years ago, it's somewhat surprising to find that Cellar Door is the Idjut Boys first "proper" album of original material. There have, of course, been other albums - a 2002 collaboration with Quakerman on Glasgow Underground, 2009's Rune Lindbeak hook-up as Meanderthals (on which they were rumoured to have done most of the work) and a string of typically dubbed-out disco re-edit collections (Phantom Slasher, Noid etc) - but nothing that could be called a definitive Idjuts album. Cellar Door, then, should perhaps be seen as a neat bonus rather than the culmination of a career that has stuttered between sublime brilliance and aloof eccentricity. Listened to on those terms, it's even better than you'd expect. First of all, it's a proper album in the old fashioned sense. Clocking in at under 40 minutes - like many of the greatest albums of the vinyl era - it shimmers with Balearic intent. Heady and intoxicating on one hand, sweet and country-tinged on the other, it's a grown up, radio-friendly set that should please those with a penchant for glistening Balearica. Recommended.