eat local part two: rfm tucks in to ashtray navigations, half an abortion and helicopter quartetSeptember 18, 2013 at 7:42 am | Posted in new music, no audience underground | 4 Comments
Tags: angurosakuson, ashtray navigations, chrissie caulfield, half an abortion, helicopter quartet, leeds, memoirs of an aesthete, new music, no audience underground, noise, pete cann, phil todd, psychedelia, tapes
Ashtray Navigations – spray (CD-r, memoirs of an aesthete, moa cd 1-800-55555, edition of 100)
Half and Abortion – Small Scale Demystification Quandary (tape, Angurosakuson, AS#008)
Helicopter Quartet – Refuge (self-released download)
The cover of the latest CD-r from blog faves Ashtray Navigations (this time being Phil Todd solo) sports a noteworthy boast: aside from ‘false starts with the percussion’ everything else therein is a first take. It is an interesting prospect. Despite being an accomplished improviser, Phil’s recorded output tends to be the result of much deliberation, overdubbing and editing. The guy puts the hours in and the result is a consistency unique amongst those similarly prolific. The slapdash should take note: no that won’t do, be more like Phil instead.
Anyway, in keeping with the vibe of the project I decided to review it in one take too. During a lunch break I found an unused basement teaching room in the university where I work, spread my kit across a table – food, pencil, three sheets of A4 paper, mp3 player – pushed the buds deep into my long-suffering ear canals, pressed play and wrote the following. Aside from some false starts on the punctuation, and some reconstruction following the disintegration of my sandwich and resultant beetroot stains, this is also a first take.
‘bubba o’meiser’: chimes, bells, calling the fairies to a gathering? A wedding? Getting heavier, maybe a mushroom vision of the forest, maybe the soundtrack to a 1970s documentary about jellyfish. Hang on – here come the space bongos (obviously this release does contain overdubs – presumably Phil means each element was recorded in one take. Some assembly was required)! Now there is an epic swishing hiss – reptiles in sunglasses are eating the wedding party! ‘the awful backlash’: ah, the guitar. A super-cool rhythmic shimmer underscores a sky-scraping psyche-rock wig-out. Phil’s ornithopter flaps lazily over the dunes (at this point I stared at the wall for a minute, lost in the solo. Nearby building work was making the floor vibrate nicely). This is Phil at his most free and, ironically, perhaps at his most accessible. I can imagine anyone whose tastes are guitar-led being won over by this to the shining path of AshNav, Fun ending as one of the hip lizards from earlier croaks along to the dying seconds. ‘spray’: Business! Initial bobbling sounds like an interlude in a modernist composition symbolising the rush of urban existence. Picture ballet dancers artfully avoiding each other as they hail cabs, meet their dates, go about a stylised version of city life. I’m expecting this to resolve, to clarify but the layers continue to slide over each other, breathless. OK, now percussion is stapling it together and a low end is packing it away. Second movement, change of scene. Now the electrobibble seems like the chittering of nocturnal creatures, the wob-wob of the synth giving the impression of a tropical night that just won’t cool. Act three sees the return our reptile friends. As the engine of their super-yacht idles in the background, ready to depart, they enjoy a quayside performance of Miles Davis style vibraphonic space jazz then, ha!, that is it. Blimey, for a 20 minute track that sure passed quickly.
Next we have the first appearance on RFM for another Leeds based label, Pascal Ansell’s Angurosakuson. Click through to find effervescent collage nonsense from the man himself and a couple of noteworthy releases by the (relatively speaking) ‘bankable’ names he wisely chose to kick off proceedings with (reviewed elsewhere).
My favourite item from the roster so far is Small Scale Demystification Quandary by Pete Cann’s solo project Half an Abortion. Yes, I know the choice of band name is contemptibly gonzo but, as with all ‘extreme’ music, familiarity has made me weary/wary of complaint. Anyway, I know he’s keeping it mainly because it annoys Pascal which amuses me as much as it does Pete. The content is noise of the tabletop electronics variety but it is no mere exercise in meathead excess. Pete’s work is artfully constructed, even when he is clearly making it up as he goes along, and contains levels of nuance and humour that reward repeat listens.
It sounds like this. Imagine arriving on the space station orbiting Solaris. Any attempt at communicating with home is scuppered by the roar of magnetic interference emitted by the planet below. Following a racket down a corridor you find yourself outside Dr. Pete’s laboratory. You need to pound on the door to get an answer and when Pete does come out – sweaty, preoccupied – he holds the door shut behind him. His planet-created id creatures (track two is called Iddy and Jutt, so I’m presuming there are two) continue to crash about the lab. Cut to inside. They aren’t, apparently, just trashing the place but appear to be conducting their own clumsy experiments. By the final track their project – to invent music from scratch – has been revealed. A scribbly, uncertain refrain is dragged from their home-made stringed instrument, accompanied by the clatter of retort stands being kicked about. The whole thing, then, could be heard as ‘tuning up’ for the one and only truly musical moment: one note, blown for a couple of seconds on (what sounds like) a melodica. And then that is that – it’s the final noise of the album and an hilarious conclusion. I like this very much.
Finally, a brief mention of ‘Refuge’ by Helicopter Quartet. Regular readers will remember my unstinting praise for the two albums currently available by this fine band (for the uninitiated see here and here). The track, a lately completed off cut from the Where Have All The Aliens Gone? sessions, is seven and one half minutes of melancholic beauty. Nothing drippy or indulgent about this lament though. It is coloured with the yellow-grey tones of weather-worn Yorkshire sandstone and has the soul-calming grace of a slate grey sky over Swaledale. Highly recommended.
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