bouncing off the tuning pegs: joe murray on david somló, panelak and gold soundz all-starsJune 30, 2015 at 9:40 am | Posted in new music, no audience underground | Leave a comment
Tags: claus poulsen, david somló, gold soundz, henry collins, joe murray, lf records, panelak, pascal ansell, sindre bjerga, stuart chalmers
stuart chalmers/henry collins/sindre bjerga/claus poulsen – split (tape, gold soundz, gs#127, edition of 25)
David Somló – Movement (CD mounted on plate with hanger and booklet or download with pdf, self-released)
Panelak – The Om Tragichord (CD-r, LF Records, LF046)
Stuart Chalmers/Henry Collins/Sindre Bjerga/Claus Poulsen
Side one of this groovy wrapped-up tape hosts tape goons and sonic adventurers Stuart Chalmers and Henry Collins. This fine duo give excellent value for money by combining the riotous pop and snap of speed-of-thought tape manipulation with more considered glassy processing. The seven poke-in-the-eye interjections are short (all under 3 mins except the slightly longer ‘tskimdo’) and as fresh and wriggly as a landed rainbow trout.
Things work as a wonderful whole, individual elements constantly forming and deconstructing, but with an overall purpose and flavour. There’s a damp frittering to some of these sounds as they rush like a fleshy thumb over a plastic comb… frrriiiiiiipppppppp! The energetic glitching is fancy like boiling mud; all thick clay-like plops and flubbers. Stuart handles his Dictaphone with aplomb; FFW skipping some guitar improv, the Bailey-esque lurches in volume diving dramatically down a brown worm-hole. A drum loosely appears between the squark and squelch. This reminds me to mail David Sylvian with a pithy comment about his Manafon. The whirling capstans get almost too much to bear until a singular tone calms the magnetic beast. Friends of more relaxed pastimes will tune in to the especially jaxxed ending to this side – clockwork chimes and distorted reverberations making it all nice and irie. Praise Jah!
Side two starts off with a live Sindre joint ‘choking on splinters’ and is a right messed-up tape culture statement. Various soft rock/power ballad tunes are mangled with generous amounts of ironic sauce. The sound then gradually coalesces (like sonic grease pudding) for a road-menders drone section, soon to be replaced by wet slapping and vocal jaxx, stiff hessian ripping, number station melodies and dry-twig crackle.
And things start to get serious. The last few minutes of this set are dramatically violent with poor old tapes getting seriously duffed-up, warped, stretched and fondled so the base-sound becomes thickened and rubbery. Blimey – with no applause to contextualise the sound this naked aggression sounds directed to me personally. Eek!
Claus Poulsen ends the tape with a short Sindremix. With thousands of hours of prime material to choose from Claus must have had quite a job settling down to this. To my mind he’s chosen wisely, concentrating on Sindre’s drone works to come up with a curiously melancholic three minutes of tear-stained swoons and rusty croaks. Beautiful like bruised fruit.
David Somló – Movement
Hungarian guitarist David Somló’s incredible debut album. Strong in concept – it comes with a plate you can hang on the wall and strong in execution – David is a fucking KILLER guitarist, movement is a dusty 27 minute recording that’s positively crackling with tense, nervous energy.
Recorded in the open air things start off with the sloppy-slops of lazy footsteps on leaf litter then launches into an outrageous guitar solo. Very much experimental but encased in desperate, haunting harmonies this takes on board the clear spaciousness of Jon Collins, the rusty twang of Bill Orcutt and the pitted grime of Manuel Mota. Yeah I know comparisons are bullshit but painting an accurate picture of this flapping into my lugs is a tricky one. It’s all over the place. Styles are spun on a penny. My scrawled notes say,
soars and swoops like a swallow skimming over a pond/pensive like Tom Verlaine, edging towards an unknown something/smooth but brittle texture – Hapsburgian in its decay and posture/clouds of notes knot like bees or Loren Connors.
And this pattern is repeated:
· Excellent, beautiful, twisted and shaken guitar solo
· Sudden pause (a shift in the way David is sitting perhaps?) or the crackle of a bonfire, or the twitter of Hungarian birds
· Another excellent, beautiful, twisted and shaken guitar solo.
These solos erupt out of the shimmer of nature only to fall back once all the trills and runs have been had… and they seem so natural and right. Not precise and worked until all the blood is leached but as improvised as a stolen kiss, the late afternoon light bouncing off the tuning pegs as another slick idea is fingered out on the rosewood frets.
Finally – if you are thinking this sounds just a little too guitar hero remember the field recording feel, the cloudy ripple of background voices and feet crunching on gravel that make this feel even more homespun and relaxed. I urge you readers to toast the official guitarist of the Psychedelic Domestic! Hail Somló!
A ‘must have’ for all Hank Marvins.
Panelak – The Om Tragichord
ROAAOOOOORRRR! This is a blisteringly intense record from Pascal Ansell’s Panelak. Back in the old days they called this kind of rich, crunchy noise Computer Music. And while I have no doubt Pascal is using a computer at some point in the process of making his music it would be doing this a disservice to label something so vibrant; so effusive and physical with a non-human tag.
‘Hikikomori’ grinds like Tony Hawk or something; all gritty granular shredding until a daytime TV voice adds a sobering touch. ‘Sarcomere’ is a more thoughtful cousin, standing at the sidelines of the bowl watching the boys show off. She’s thinking up minimal melodies beamed into the ether that charm their way into your skull. Was that a brief snatch of strings there? I’m not sure as the relentless alien squawk has started to recalibrate my hairy ear ‘oles.
The tooth-loosening ‘Quisqualate’ shimmers as separate lines of electric drone, fizzing glitch, squashed cowbell and high-tension guitar string plait themselves together only to unwind slowly leaving you with no handhold or ledge.
It seems unusual to have a title track these days. Are they supposed to be a potted-meat representation of the whole? I dunno man. But, as it happens, ‘The Om Tragichord’ does sum up the approach and aesthetic let loose tonight. Imagine some late 70’s video game (Tennis, Tank Commander, Pong etc) re-routed through a daisy chain of spluttering effects pedals. A giant foot stomps down repeatedly and sets things off in an eccentric order, closing off and opening up signals in a juddering and aggressive manner. Then mirror plate this and listen backwards. You get the picture eh?
Closer ‘BactoGrail’ takes some of that sweet guitar and jams it through my speakers in varying degrees of fuckedness. A Hammond does it shimmy, voices chatter like a mystery radio gone feral. After a time of simple twittering the acoustic keeps things steady while an electric calliope blusters like a wound-up drunk preparing for a fight.
Like the old Queen says:
Thunderbolts and lightning, very, very frightening!
That’s for sure…plugging Panelak into your ears is like waiting for the dark cloud to hurl a killer stroke. Guaranteed to blow your mind – anytime!