occult technologies: microdeform, ian watson, mother spit

January 29, 2014 at 3:16 pm | Posted in new music, no audience underground | Leave a comment
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Microdeform – APHELION (C65 tape, zamzamrec, 024, edition of 33 or download)

Ian Watson – Terrestrials gone Tropic With Some Pretty Fancy Animals (CD-r, LF Records, LF032, plus two freely downloadable extra tracks)

mother spit – carve (3” CD-r, aetheric records, edition of 25 or download)

microdeform - aphelionian watson - terrestrials gone tropicmother spit - carve

Older readers will recall that it was once possible to own a tape deck which could sense the gaps between songs when fast-forwarding a cassette.  The stereo I had would find the next track, rewind a second back into the silence then start playing from there.  This took the tedious to-ing and fro-ing out of looking for an elusive moment on, say, a homemade compilation of Peel sessions but was clearly an occult technology indistinguishable from black magic.  Thus, sadly, the machine had to be burnt as a witch, the melted remains rubbed with garlic and the whole sorry lot buried on hallowed ground.  Shame.

Anyway, all true music fans of my era know that any given tape can only contain two tracks: ‘Side A’ and ‘Side B’.  Even single-sided tapes have that long, quiet track on the reverse of the noisy side.  Feel free to include a tracklisting if you like but, especially if your music is at all abstract, I’m unlikely to pay it any heed.

This format-invoked, nostalgic whimsy occurred to me as I ‘researched’ the excellent tape Aphelion by Microdeform, that is Liam McConaghy, released in a tiny edition by zamzamrec and also available for download.  Buy it from the artist’s Bandcamp site (where you can find the few remaining physical copies too) and you get an eleven track album, download from the label’s Bandcamp site and you get two half-hour chunks titled ‘side 1’ and ‘side 2’.  I chuckled approvingly, plumping for the latter option.

A persuasive sense of purpose pulls the listener through both sides as various sub-genres of dark electronics run together into a united current.  There are Tangerine, Vangelisian synth-wobs riding over the fuzzed out murk – part science fiction dystopia, part mass for the drowned in a submerged cathedral.  There is thumping industro-grind as machine rhythms emerge from the loops and echoes.  A growing crescendo of tension across ‘side 2’ suggests it isn’t going to end well for the protagonist of this supernatural cyber-thriller.  I picture her looking over weapons she knows to be inadequate with a wry resignation then, coincidentally at the exact moment the Earth is at the furthest distance its orbit takes us from the Sun, the door is kicked in…

Terrestrials gone Tropic With Some Pretty Fancy Animals is the second of Ian Watson’s projects to come my way (see my review of the SWEFN album on hairdryer excommunication here) and is my favourite of the latest batch of releases from the ever-impressive LF Records.  It is a one hour long CD-r comprising twelve untitled tracks and, should that not be enough for you, LF have kindly made two further tracks freely available via Bandcamp to boost it to feature length.  Ian is an illustrator as well as a musician and the cover shows off his considerable chops – take a good, hard look at the chicken thing above, though I’d wait until after lunch if I were you.

The music is mainly electrical, yet there is something squishily organic about it too.  It’s as if Ian were recording impulses in the newly formed nervous system of a giant lump of sentient tofu (its mood = forlorn, as you might expect).  Hmmm… too flip – the situation portrayed is more grave.  Some of this sounds like the trilling and bobbling background noises to be heard on the bridge of the USS Enterprise but smeared-out, slowed down.  Perhaps what we are getting are the tragic attempts of a red-shirted crew member to recombine himself following a devastating transporter accident.  Doomed to haunt the corridors and quarters of the spacecraft, he is not corporeal enough to make an impression on the physical world yet is still ‘real’ enough to avoid dissipating completely.  These tracks are how he hears what we hear.

I found this album to be distractingly compelling.  An attempt to use it as background soundtrack to an afternoon of pottering ended with me sprawled on the bed in the spare room, chores forgotten, staring at the ceiling, as I followed its twists and pulses

carve by mother spit is a single, eighteen minute track housed on a 3” CD-r with the striking cover photograph above, released in a tiny edition by aetheric records (home of RFM faves people-eaters) and also available for download.  Interestingly, the band hails from Sofia in Bulgaria.  Now, I am perfectly aware that this is the modern capital city of a modern European country but, to an unseasoned non-traveller like me, it is the sort of location that will always feel like ‘the old country’, as alluded to in fables and 1940s horror films like Jacques Tourneur’s sublime Cat People (yes, I know the main character was from Serbia, not Bulgaria, but you see what I’m getting at I hope.).

Using a carefully selected palette of eerie, droning electronics the track quite deliberately, and very successfully, creates a cosmically chilling Lovecraftian vibe.  There are three scenes depicted: the warm winds whistling through the deserted, subterranean corridors of the nameless city, the aftermath of a woodland ritual in deepest New England – the celebrants have departed but the ground is littered with still warm torches and a sticky, rust-coloured liquid is drying on the large, smooth rock used as an alter and, finally, the dark, grey interior of a Mi-Go spacecraft on a journey home to Yuggoth (yes, I know they were supposed to fly through the aether using their membranous wings but, having attended the dissection of a captured specimen, I now consider that theory to be unlikely.).  These scenes overlap one another and drift in and out of focus, as if in the crazed mind of an unfortunate soul who witnessed all three.  I can’t stop playing it.

Microdeform’s own Bandcamp site.

Microdeform on zamzamrec’s Bandcamp site.

Ian Watson on LF Records.

Ian Watson’s own site.

mother spit on aetheric record’s Bandcamp site.

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