the machine slowly unfolds: joe murray on star turbine, poulsen & klapper, rogaland hot club, forest of eyesMarch 26, 2015 at 8:36 pm | Posted in new music, no audience underground | Leave a comment
Tags: anders gjerde, claus poulsen, drone, folk, forest of eyes, gold soundz, improv, joe murray, mark wardlaw, martin klapper, new music, no audience underground, noise, pål asle pettersen, rogaland hot club, sindre bjerga, skrat records, skronk, star turbine, tapes
Martin Klapper & Claus Poulsen, Rogaland Hot Club – Og Senere Pa Eftermiddagen / Rogaland Styrende Organer (tape, Gold Soundz, GS#125, edition of 25)
Star Turbine – Alterations (CD-r, SKRAT Records, skr-017)
Forest of Eyes – Leaf Litter (CD-r or download, self-released)
Martin Klapper & Claus Poulsen, Rogaland Hot Club – Og Senere Pa Eftermiddagen / Rogaland Styrende Organer
I picked this beauty up from the Goldsoundz gaucho himself Sindre Bjerga during his recent half-term jaunt to the UK with Claus Poulsen. I’m always up for a trade but was doubly delighted to see the name Martin Klapper splashed across the carefully folded collage cover. For me Martin’s sounds were an important entry point into an underground alternate reality where toys take a seat in the orchestra and accident holds an unreliable baton to conduct.
I asked Claus with my eyes ashine:
How did you hook up with the Klapper man?
Martin? He lives round the corner from me,
…came the nonchalant reply from Claus.
Good golly! I almost ran home to jam this silvery prize right there and then but resisted like a good human and took my time.
The seven short tracks from Klapper/Poulsen are total knockabout junk-core of the highest order. No moment is left un-squirmed. The pace is busy like a chicken-pox itch with layers of ‘huzzzzz’, ‘hok-ko-kok’ and ‘charrrr’ expertly mixed so it’s almost tumbling into chaos but pulls itself back from the brink every time.
The attendant floppings are not in any way naive or frivolous. Using toys, doo-dahs and soft furnishings in your music is no easy option. You’ve got to search the possibilities as lovingly as any extended technique merchant.
The stop-start, juddering of micro-musical moments ticks my Tom & Jerry box in thick black marker. It’s delightful to surrender to the ‘quacks’ and belches letting my brain process this particular Technicolor moment, and another, and another, and another until the grey stuff is left panting and fagged out.
I will never tire of this approach. It’s the very sound of spontaneous invention for heaven’s sake! It gives me the same warm glow as discovering that the sonorous snoring behind me is actually the start of a vintage Usurper or Drenching jam randomly selected for my rusty earbuds. Turn on, Tune in, Flop out.
Rogaland Hot Club are another name I’ve wanted to catch up with for a long while now. A Norwegian super-group (Sindre Bjerga, Anders Gjerde and Pål Asle Pettersen) made up of only Ginger Bakers this 21 minute collage of live/non-live jams all smeared together is a master class in group improvisation. Most of us agree that music is a social activity and, as a result, the interactions between individuals in groups are one rich area of both business and pleasure.
The Hot Club play on the skronk, the sound of overloaded equipment peaking redly and knead it into unselfish group moaning and caterwauls; a King Midas of agonies hawked out by specially trained sea lions, so close you can almost smell their fishy rewards.
At the 9 mins 30 mark exactly the scene changes to a surviving audience recording of Suicide’s only Scandinavian date. Those tricky voltage differences pitched all their Casio beats too low for a US crowd but it was perfect for the winter walkers who break out the hjemmebrent to dance like their sensible shoes are covered in foul-smelling glue. A paddle-puddle-battle takes the place of an interval until the show gets closed by the cops, hauling in their own sound system playing Barrington Levy at ear splitting volume – backwards – as they take turns to ‘singjay’ the pages and pages of overtime claims in a newly discovered Atlantian dialect, incomprehensible to us land dwellers.
One lone voice remains, spoiling the ballots in a confused tone.
Gosh…this is one heady rush. Available in tiny quantities; there’s only 25 copies in the whole wide world. Move swiftly my dear reader, move with sureness and speed or let this opportunity pass you by forever.
Star Turbine – Alterations
This upstanding duo of Sindre Bjerga and Claus Poulsen have come a long way in the last few years. Their collective name Star Turbine is well chosen as their first set of recordings were very much the sound of the ion drive, the Dylithium raga and ‘Set the controls for the heart of the sun’ omni-chord workouts. But all things change, even in the field of deep space research, and in 2015 we hear a very different sound-world pumping from Claus and Sindre’s sci-fi drone pipes.
The two live pieces that make up this ‘tour only’ disc are real heavy journeys into the unknown. The lengthier ‘Leiden’ starts in the foothills of some imagined country and hikes carefully up a frozen mountain. Electrick brooks, bubbling happily down below, become ferocious and dangerously sly underfoot the further you climb. The pretty, crisp frost gets deeper and sloppier until each boot crunch sends up explosive plumes of fine white dust, peppering the air with paranoia and panic spores. The trees, naturally, become spare and sparse. The odd rough limb points skywards, blackened against the snow pointing an accusing finger to some jealous deity in the clear night sky.
And then… it’s all calm. The occasional goat bell chimes mournfully and echoes across the valley. Your shortwave radio picks up astronaut interference; they could be reciting poetry or sending a panic-flaming SOS, but you’re too worn out from the day’s exertions to really care. The ‘clicks’ and ‘burrs’ of speech just manage to fight through the static, lulling you to sleep to dream of Spanish guitars played with lobster claws and melting butter.
‘Dawn Voyage’ seems to pick up the journey mid-dream with that familiar ‘same but different’ trick my subconscious loves to play on me.
Skip loads of the river bed silt are brushed and combed by some gently purring machine. For hours it labours, occasionally letting out a gasp of steam or erotic sigh of pleasure. By morning the silt has all gone, processed away and the machine slowly unfolds, like a lotus flower, to reveal a small statue of Niels Bohr shimmering like some solid state disco ball. Steve Lacy asks to borrow my headphones then complains loudly they are not the Beats he expected. I wake up with a question on my lips…
Forest of Eyes – Leaf Litter
If you check out the link to this beguiling new record from Forest of Eyes you’ll notice Mark Wardlaw’s mission statement for his FoE project:
Rescuing folktronica from the blahs
After a good old listen to this collection of songs and environments, at home and on the move, I can conclude that ‘yes’ Mark has accomplished this mission. Folktronica consider yourself rescued!
But Leaf Litter does so much more than that. Forest of Eyes has re-engaged the underground ‘folk’ debate to such a new level he demands a fresh chapter in Electric Eden.
Sure enough you have the sound of wide skies, painful loneliness and horizontal grey sleet recorded direct to mobile phone. Yup…you’ve got medieval instrumentation: your dulcimers, your fiddles your concertinas and of course your good old bowed psaltery.
But this very ordinary looking disc takes the sonic disturbance of folk (the jarring frequencies in voice and subject matter, the stubby finger in the ear) and overlays them with a carefully attuned appreciation of the everyday noise of life. It does this in two distinct ways. Firstly there are the songy-songs tinkered with gently, ribbed for your pleasure.
But a new world is opened with the longer pieces. They tip their hat to the traditional song form of course but quickly kick its shins with a steel-toed clog. But it’s not leg pain that keeps you awake at night; it’s the mead-based Mickey that you can’t quite forget. The deft shift of brain waves that calls you back for more over the freezing hills.
So first the songs: the scene is set with an apocalyptic instrumental ‘Regeneration Scheme Cancelled’ – a choir of thin keening tones played on a tortured dulcimer and pipe contraction (the atomically powerful bombard perhaps) making medievalists weep with its delicious modern primitive style.
You want a murder ballad? Well all you Nick Cave types take note to check out ‘Edward’, a cyclical tale that sets a new low for misery with its plaintive verse over a deep breathing drone. Both beautiful and disturbing.
And the father’s lament ‘Weary Cutters’ is sung a capella with a forlornness that’s magnified by its cliff hanging ending. There’s no happy ever after feeling… it just tails off into an agonising emptiness.
So what’s left? These are the meaty chunks…
Riot batons crash against police shields in a direct act of provocation to open ‘Strike Breaking Bastards’ a stunning, but very grimy, very cellular song-within-a-song that seamlessly incorporates the traditional Blackleg Miner with the sort of clank you’d expect on a Prick Decay record and the aforementioned politically-tinged faux field recording. This is brave work!
A brief noise interlude that begins ‘Poachers Killing Police’ clears the head with a sharp and creaking concertina and explosive machine-breaking, then words courtesy of North Yorkshire Police add a social commentary that’s far more powerful and thought-provoking than any Dog-on-a-string nonsense. (Baton down the hatches Ed – that’s bound to upset the punk primadonnas [Editor’s note: not fussed]).
I’m pretty sure this is turning out to be a god-damn IMPORTANT record before I even sip on the final, black psychedelic slush of ‘Mouldering Vine’. This is an hypnotic and nauseously overlapping tune that’s as truly twisted as a Sun City Gurls ram-jam spliced with Richard Youngs’ innocent weirdness (Lake era). The killer fade-out, like a pale sun disappearing over a damp horizon, is the perfect melancholic masterstroke.
Skrat Records (yes, the disc was ‘tour only’ but no harm in asking…)