The following text was shamelessly stolen from the cover-like piece of folded paper that comes along the AATT box set, containing all their 12″ and the first 7″.
The Boxset is very good quality – some of the singles look like being original while others are made specially for the set. At least you can see what’s re-presses and what’s not!
20041113-002_Lourmarin_Tombstone_Albert_CamusShantell-this is an original pressing of the first record ever made by AATT. Recorded in 1983 the players were: Simon Huw Jones- vocals, Justin Jones-guitar, Steven Burrows- bass guitar, Nick Havas-drums. The song was written the previous year when Graham Havas (Nick’s brother) was a bassist, a role Steven took over some months later. Since that time there have been no further alterations, just the addition of ‘guest’ keyboard player Mark Tibenham. S.H.J.’s youthful lyrics for Shantell are about the omnipresence of an unknown child whose grave in a local cemtery deeply affected him. She remained in mind for a long time and became the first character in the dream landscape from which many of the AATT’s are drawn.
Wallpaper Dying-Words co-written by N.H. and S.H.J. in 1980 strive with the energy of the music to create an atmosphere of concalenscence.
The secret Sea-Written in the autumn of 1983. ‘The secret sea’ refers to a sea of sleep which in turn is represented by a figure whu visits the dreaming body of a girl.
There were no bounds-Early in 1980 while the Havas brothers beat out a rythm and Justin merged a melody with the feedback from his self-made guitar cab, S.H.J. pulled a book from a box in a cupboard and started reading; it was Adam Huxley’s novel ‘Time must have a stop’, a book that influenced him greatly as it became the first book he ever read and the words from chapter thirteen were kept as an accompaniment to the music.
A room lives in Luxy-Inspired by letters from S.H.J.’s correspondance with a west country girl calles Alison. Her wistful and dreamily frail yeanings are intensified, becoming desperate and almost violent in their search for beauty.
There was a man of double deed-An anonymous rhyme the Jones brothers grandmother used to tell them when they were children.
Scarlet arch-The last of these three songs written between January and July 1984 describes the barren landscape of limbo the lies between the conscious and sleeping mind. Here, emotions are freed and in their surreal forms are blown across the wastelands like the ghost figure of sleep in ‘The secret sea’.
The critical distance-This inappropriate A. side writes in its own claustrophobic confusion desperate to cut through the walls of its padded cell-like confines to find some sort of clarity. Half written and half recorded in the early summer of ’86 in Rome, but due to a creative block not finished until the autumn of that year.
Scythe and spade-Adapted from an idea written by J. Hobman (Ton Ton Macoute) that was inspired by the song ‘Virus Meadow’.
The renegade-A cover version of a song perfomed by ‘Ton Ton Macoute’, a group who played alongside AATT in the early eighties. The words are from an Albert Camus story of the same title.
Shaletown-These lyrics, symbolic of a great population shifts from the country-side to the townm in the 18th centory, describes a journey across rural Britain following a trail og chaff as it drifts on a late summer breeze towards an industrial town. Inspired by frequent journeys between the Midlands and the south-west Wales in 1987, the ‘imaginary’ journey through this time-warped Britain brought forth many of the lyrical ideas used for the Millpond Years L.P. on which Shaletown appeared the following year.
Needle Street-Threatened by the growth of industrialisation, a house the outskirts of the town is enteres and slowly dismantled by the passing of time.
The House of the Heart-This is the first song where AATT contemplate the phenomenon of Romantic Love, allegorically seeing it as a mysterious mansion full of unexplored rooms. The house depicted is Witley Court, a Worcestershire mansion that burned down earlier this century.
Anchor Yard-Another detail of the Shaletown journey. Here the disused herbours along the Pembromkeshire coastline are passed and revived with the memories of the long-gone mackeral-gutting women.
Count Jefferey (the first)-The original version of the track that appears on the Millpond Years L.P. It was recorded by the Jones brothers at their home.
Lady D’arbanville-A cat Stevens song remembered from childhood and chosen for its Thomas Hardy like qualities.
The Street Organ-An idea that grew after being woken by a street organ outside a back-street hotel in Liege while the band were on a tour in 1988. The sond relays the differing memories and emotions a street organ has on the residents of a town.