The link between your classic Canterbury Scene from the ’70s as well as the D.We.Con. psychedelic pop picture from the ’90s, Todd Dillingham is normally a one-of-a-kind musician. Equally with the capacity of composing concise, catchy small pop music, twisted psychedelic explorations, and sprawling prog rock and roll improvisations, the North London citizen is similar to a one-man mix of XTC, Robyn Hitchcock as well as the Egyptians, as well as the Bevis Frond. Extremely, for the one-man music group who plays the vast majority of the equipment on his information, Dillingham came past due to music, not really recording his initial music until he had been into his thirties. His initial record was a limited-edition self-released cassette, 1989’s Stalking the Wily Chub, using a homemade cover created by his sibling, music journalist and psychedelic poster musician Mick Dillingham. (Dillingham provides something of the obsession with seafood, which regularly come in his record game titles and cover artwork.) Sibling Mick took a far more energetic function in Dillingham’s following task, the Bizarrdavarks, a trio offering the brothers and Bevis Frond mastermind Nick Saloman that positioned two paths on 1990’s Woronzoid, a double-album compilation on Saloman’s Woronzow label. Saloman and Mick Dillingham also made an appearance on Dillingham’s following recording task, the Saloman-produced Artwork Into Dust, that was supposed to show up on Woronzow in 1990 but was shelved, ultimately appearing for the Voiceprint label in past due 1992 by adding one later monitor, a almost half-hour jam on Green Floyd’s traditional “Interstellar Overdrive.” Dillingham’s association with Voiceprint, a label from the ’70s Canterbury Picture spearheaded with the Gentle Machine and Hatfield as well as the North, started in 1991, when Caravan keyboardist Richard Sinclair asked Dillingham to record an record with himself, drummer Andy Ward (Camel), and reedman Jimmy Hastings (Caravan, Gentle Machine, National Wellness). The ensuing Wilde Canterbury Fantasy received rapturous testimonials among prog rock and roll diehards, but Dillingham’s following two releases had been a set of even more immediately available psychedelic pop EPs in the design of XTC’s Dukes of Stratosphear aspect task: the Norwegian to push out a Dash of Haddock (1993), as well as the German discharge Arthur Woodcote (Can be His Name) (1994). Dillingham’s following two albums, both released in 1994, re-emphasized the prog part of his musical character, even though live Radio Program included several ’60s-design freakbeat rave-ups aswell. Vast Empty Areas (made by Peter Giles from the famous Giles, Giles, and Fripp) designated a reunion with Ward, with Curved Air’s Mike Wedgewood and Anthony Alridge from the jazzy and eccentric Skaboosh! adding bass and violin, respectively. Apart from occasional prolonged improvisatory exercises, Dillingham after that retreated from intensifying epics right into a marginally simpler and substantially poppier type of psychedelic pop. The self-released Astral Whelks, including contributions not merely from Ward but Ward’s Chrysathemums bandmate, Yukio Yung, was the 1st proof this new concentrate, nonetheless it was 1995’s Sgt. Kipper, using its invaluable cover portraits of Dillingham, Yung, and Ward in Sgt.Pepper-style satin outfits, that delivered Dillingham’s most consistently poppy and groovy group of tunes. Maybe that career spotlight was plenty of for Dillingham, because after six incredibly prolific years, he sharply curtailed his documenting tasks after Sgt. Kipper. Two rather aimless self-released cassettes arrived in 1995 and 1996, Mock Opera and Additional Delights and Nostratoddus, accompanied by your final EP on Germany’s Red Lemon imprint, The Twelve Breams of Doctor Sardine and Us. Apart from a Compact disc of loose ends, Chances and Todds, that arrived within an ultra-limited release of five copies, Dillingham offers released nothing at all since 1996.