Andrew Weatherall and Keith Tenniswood’s Still My World is effectively a little library of themes and cues. A collection of largely shorts of stoned sonic noodling, that are experimental, and mischievous, but always melodic. Seemingly fascinated / obsessed with the slightest detail. Submerged drones and sine waves carrying the tunes.

International Girl’s Not Here is a gated, ghostly synthscape, that’s muted, mutated through reverb and delay. Fragile and vapour-like, but the air heavy, fogged, with it. If there was once a song here, then it’s now far removed. Only shadow remains. The Crescents is similarly dub-drenched. Its plaintive picking processed in infinite echo, building a beautiful bit of beatless ambience. From Behind Bandages features the Two Lone Swordsmen’s trademark aquatic acoustics. Live From Rotten Towers too splashes and sploshes about. Its looped industrial percussion and funky bass riff creating a lolloping lop-sided groove. A snippet of Southern Dixie-fried chitlin circuit grind igniting the broken robotic ride. Don’t Remember Leaving’s metallic flickering flutters above dangerous digidub low-end. The Night I Was A Booby Prize’s glitchy crunch sounds like samples of a monster eating Monster Munch. And Then The Walls Fell boasts busted, dusted Mo Wax / Trevor “Underdog” Jackson beats. Compulsion deconstructs breaks / drum and bass.

The album’s title track is a soft focus soundtrack of b-line, pretty chimes, and sucked backwards sequences. A Fender Rhodes romance, it seems to pay tribute to Manfred Mann’s score for the seminal 1960s “kitchen sink” drama, Up The Junction, and their Weatherall favourite, Just For Me. With, perhaps an additional nod to Get Carter! and Roy Budd’s Hallucinations. The song’s final ethereal sighs also recalling Lali Puna’s plugged-in post-rock pop.

This was my only Record Store Day purchase. A big thank you to The Flightpath Estate’s Martin Brannagan for bagging me what I’ll bet it is the only copy currently in Japan.