| 1 | Sing | 3:24 |
| 2 | Happy Lost Songs | 3:09 |
| 3 | Stuck In The USSR | 0:37 |
| 4 | The Look | 7:37 |
| 5 | Help Me To Help Myself | 1:49 |
| 6 | What Will I Do | 4:46 |
| 7 | Lost In The Dark | 2:35 |
| 8 | Push The Clouds Away | 2:57 |
| 9 | The Sound Of The End Of Music | 3:37 |
| 10 | Wonderful Wonderful | 5:59 |
| 11 | Driving Flying Rising Falling | 5:34 |
| 12 | Ever | 2:35 |
| 13 | Hush | 2:15 |
| 14 | Wandering | 7:34 |
| 15 | The Seven Hills Of Rome | 4:47 |
| 16 | You've Got To Know When | 1:34 |
| 17 | The Atlantic Conveyor | 2:51 |
Originally released in May 2011 when People Like Us aka Vicki Bennett became stranded in the US after the Icelandic Eyjafjallajökull volcano eruption closed much of northern Europe’s airspace, Welcome Aboard was reissued by Discrepant in the limboland of 2021.
Volcanically marooned in Baltimore and NYC, Bennett utilized some of her “free” time to work on the album and even gained audio contributions from fellow experimental musicians Jason Willett (of Half Japanese) and M.C. Schmidt (of Matmos) via her extended stay.
Bennett derived thematic material of displacement, travel, and a longing for elsewhere from the natural disaster that caused her own predicament. Now strangely echoed by the Covid-19 outbreak and the various grounding of planes and stay at home policies worldwide.
While the general mashup culture often centres on the instant gratification of seamlessly juxtaposing hooks, People Like Us tracks transform the source material into collages that are equal parts dissonance and pleasure, making artful commentaries on our culture and Bennett’s own existential amusement within such a wondrous world. No one could have predicted how relevant this album would have been 10 years later.
Volcanoes or Viruses, Welcome Abroad is what happens when you’re stranded due to a freak natural occurrence trapping people all over the world and causing mass plane cancellations.
Available as 16bit FLAC or 320kbp MP3
Under the name “People Like Us,” artist Vicki Bennett has been making work available via CD, DVD and vinyl releases, radio broadcasts, concert appearances, gallery exhibits and online streaming and distribution since 1992. Bennett has developed an immediately recognisable aesthetic repurposing pre-existing footage to craft audio and video collages with an equally dark and witty take on popular culture. She sees sampling and collage as folk art sourced from the palette of contemporary media and technology, with all of the sharing and cross-referencing incumbent to a populist form. Embedded in her work is the premise that all is interconnected and that claiming ownership of an “original” or isolated concept is both preposterous and redundant. Most of the People Like Us back catalogue has been available for free online since 2002. For many artists, profit and publicity is more likely through free distribution (the gift economy) than independent publishers and distributors, which often struggle with limited resources. Online self-distribution allows an artist to keep their work available, resolving a tension between label production costs and the desire of an artist for work to be available. UbuWeb generously hosts the discography and filmography of People Like Us.
This year marks 30 years for People Like Us, marked by a cover feature in The Wire Magazine (May 2021, a touring of Gone, Gone Beyond, a 360 immersive cinema installation to nyMusikk Oslo, SPILL Festival Ipswich, Attenborough Centre (ACCA) Brighton and London Barbican, and an evening hosted by People Like Us at their favourite venue Cafe OTO.
