human knotty complexity : joe murray on katz mulk, daniel carter/george lyle/fritz welch, downer canada and brb>voicecoilMarch 27, 2017 at 6:04 am | Posted in new music, no audience underground | Leave a comment
Tags: andrea kearney, ben knight, ben morris, brb>voicecoil, daniel carter, dictaphone, downer canada, drone, fritz welch, george lyle, graphic score, improv, iorram records, jazz, joe murray, katz mulk, muza muza, noise, power moves library, sacred tapes
Katz Mulk – Katzenungen (Sacred Tapes)
Daniel Carter, George Lyle, Fritz Welch – So Long Farewell Repair live at The Glad Cafe (Iorram Records)
Downer Canada – Snarl like a Poem (Power Moves Library)
brb>voicecoil – Cloth White Skin (Muza Muza)
Katz Mulk – Katzenungen (Sacred Tapes) C30 Cassette
A new project from N-AU stalwarts Ben Knight, Ben Morris and Andrea Kearney* should make the most cynical of listeners burp – but I can report back from my comfortable trench that Pepto Bismol is not, repeat not needed. This Mulk slips down easy as sherry trifle.
Knight continues his imagineer work for a darker-Disney building a domestic palace of half-song and chant. He adds delicate plonks with increasing grace and moves the air with a palm, then a knee. And Morris knits these materials into a thread-bare tapestry that celebrates the tiny, the small and the microscopic. Kearney provides the graphic score…
Side one: truth bandits, engaging rumble of an outboard motor, the squished goose honk of decaying electronics and wet hiss of traffic. A voice says ‘squeal, squeal’, a bell rings and tinfoil gets crushed underfoot, a plate spins. Alligator goodbyes!
Side two: roar of a space heater, hectic metallic scrape, a voice battles sense against ripped rubber electronics, taped blister pack wrench overlaid by gentle footsteps. The plumber’s mate fouls up the pipes leading to complex knocking (at the7 min 30 second mark) that is both wet and dry, hard and soft, immediate yet attached to memory.
The end is heralded with the kind of repetition pin-ball/gong-strike/marble rolling I could listen to forever.
(iv)Outcome & Impact
The rare art of listening is engaged in this most rewarding of tapes. I’m guessing this is a patchwork of ‘live’ and ‘studio’ jamz with the idea of sparse pushed through a nozzle, so the language bacteria grows in a dish; the rattles of accompaniment become as real as altitude ear-pop.
One to catch in a butterfly net no matter what!
*a most fortuitous bumping into Andrea enlightens me that her presence on this tape is purely graphic score construction rather than future-ghost player. But FFW to the planned Katz Mulk disc on Singing Knives coz itsa trio of all-three-players-playing!
Daniel Carter, George Lyle, Fritz Welch – So Long Farewell Repair live at The Glad Cafe (Iorram Records) CD
Real-proper JAZZ chips from this sax/piano, double bass, percussion trio and sadly the last ever recording from Glasgow bass-face George Lyle.
The dials are set for human knotty complexity rather than eviscerating fire and that is all super-smashing-great for me.
It’s like this. My simple mind is pulled in several directions at once. George saws an undercurrent of resin-soaked wood so it glows like a fire biding its time. Fritz supplies the sizzle of gentle rain on the griddle – a liquid bada-bing! Sax sings for the brassy siren then Daniel moves to a dusty piano playing all the in-notes outwards.
But each piece tightens the jewels further, like when you find the bite on an old socket set and each bolt and nut clicks an extra few revolutions. This is true open-jaw music that plays the lush valleys between the craggy peaks.
Even the most casual listen reveals ear-gems and brain worms: the guilt marimba, felt ravioli all come seeping out a blowhole and begin rolling around my feet.
But weirdest of all, the closing minutes of ‘News Loom’ seem to suck god-save-the-queen backwards over all the rippled sonic scree. That can’t be right eh?
Shit! What more do you want me to say? This threesome are impressive enough as lone gadgies but the sum is most definitely more when all those ears and fingers (and feet) get warm and busy.
Downer Canada – Snarl like a Poem (Power Moves Library) CD-r in classy envelope and free digital download
This slim CD-r is packaged between two pieces of thick card and makes me think that the music is being coddled in some way – like it’s a delicate thing that needs protection from my fat, greasy fingers.
But when played ‘Snarl like a Poem’ is surprisingly robust – a full frequency exploration of brushed steel flux and hissing radiators. It knocks like the ancient plumbing attached to your old head (a gaseous ghost in the pipes, hurtling through copper joints , whipping right and left) until you are not quite sure what’s going on.
And then…a feedback suite; a feeble keening smooth as marble. Limp Morse that rolls as a cylinder would over a deep ice puddle yet fuzzy at the edges like someone just smeared my glasses with Vaseline – most agreeable!
Tones on the edge of collapse send oily ripples through my ear canal, a lo-tech Eliane Radigue, until things blister, bubble and pop.
Dry mouth sounds… ‘kah’ and ‘schah’ and ‘khow’ reveal dusty language roots. Is this the lost speech of the sand-encrusted pharaohs? Or perhaps a sound poet’s secret library hiss?
What was once ultra-minimal collects the grit of a classic Dictaphone approach with each surface filled and smoothed-over with fizzing huss.
It fills my head with sweet drizzle!
brb>voicecoil – Cloth White Skin (Muza Muza) C25 Cassette and digital download
The perfectly dank sound that joins the dots between classic long-form drone, field recording and musique concrete.
Kev Wilkinson’s bands Drill, Big Road Breaker and the more recent brb>voicecoil, have been stalwarts of the Newcastle noise/drone scene for as long as I can remember. After years of steady, underground activity his brb>voicecoil delighted a whole new generation in a triumphant performance at last year’s TUSK festival.
This cool-looking tape is the next instalment in an epic story.
Using source material recorded over an 8 year period the side-long title track ‘Cloth White Skin’ weaves an arcane industrial process (cast-iron rollers flattening bone fragments / blast furnace being stoked with terrible energy / huge tumbling spikes) with the spluttering of cold liquid metal and the distant thunder of Xipe Totec .
But it’s not all spitting-bluster. The final short movement is an introspective shudder, a ‘someone’s-just-walked-over-my-grave’ uneasiness of rusty tin slowly coming to rest.
The itchy rhythm of ‘Crack Vessel’ mimics exactly the enamel rattling of a child’s tooth in a jam jar. The accompanying offset, slopped-shunts of sound remind me of dancers limping after brutal rehearsals, all sore toes, ripped calves and swollen ankles.
The closer, an aptly named ‘Vent 2’ treats us to a Heath-Robinson industrial scene. Grey gas escapes under enormous pressure from cracked terracotta pipes. The hullabaloo flips a series of leather coated buttons to perform an organic, irregular beat. The surrounding soundscape is crisp with busy electric crackles and fades into one lone drummer drumming.
A taste of the grim future? Automation gone loco?
Regard the prophetic warnings of brb>voicecoil!
Tags: depression, improv, new music, no audience underground, noise, robin foster, say cheese or die
Robin Foster – Shitty Noise Moon (download, say cheese and die)
Robin Foster – ADHD NEOWZ SCHWAB (download, say cheese and die)
Regular readers of this blog will know of my troubles with depression and, more lately, anxiety. I am suffering at the moment: what seemed at first to be a mild dose around Christmas took firm hold during four months of rolling physical illness and I am now proper fucked. A coincidental run of poor luck has only exacerbated matters. So what can I do? Hmmm… I know! I’ll count my blessings and cheer up.
Any fellow sufferer will shudder and/or crack a rueful smile at that last line. Heartfelt sympathy from the well intentioned is often harder to deal with than simple, uncaring ignorance. Any antediluvian HR idiot who tries that ‘well, we all get tired’ bullshit gets a curt and well-rehearsed critical beatdown from me and is banished from the room with a face like a well-slapped arse. But what do you say to a friend or loved one who is genuinely, if ham-fistedly, trying to help:
You have so much to live for! Your life is great!
…yeah, and yet I feel like this so why go on?
But what to you have to be depressed about?!
…you are mixing up two meanings of the word. I’m not depressed about something, I’m ill. Would you ask someone with diabetes what they have to be diabetic about?
…and so on. I’ve had polite, firm-but-gentle versions of this conversation many times over the years and it is getting easier as understanding of the condition widens and deepens. However, just recently I’ve been acting on a revelatory suggestion from my counsellor: maybe I should acknowledge what I have to live for. Maybe I should count my blessings. Maybe I could even pussyfoot around the idea of ‘cheering up’…
The idea goes something like this. I can’t stop having these thoughts and feelings but I do have some control over how I react to them. Consciously fighting them off is one tactic but can prove counter-productive. The illness loves a pagga because even if I win it knows I’ll be in a weakened state for the return bout. Depression doesn’t mind playing a long game. Better perhaps to crowd it out, to fill the headspace available with more positive thoughts. It’s akin to the much debated tactic of ‘no-platforming’ a political opponent – sure, I can’t ban you from expressing abhorrent opinions but you won’t be doing it at my rally – and each time the grimness is denied and the positive celebrated the latter is reinforced. Conversations with my counsellor have followed this pattern:
So how have you been?
Well, mostly pretty bad, I’m afraid.
‘Mostly’, not all?
I guess there have been a few good things, amongst the bad thi…
Let me stop you there – tell me about those good things.
On my own I have, somewhat sheepishly I admit, been consciously, literally (even out loud sometimes) counting my blessings:
1. Anne and Thomas, 2. radiofreemidwich, 3. jam doughnuts…
It doesn’t work all the time but it feels like steps in the right direction – into the light, away from the dark….
*Phew*, anyway, forgive me, it helps to write it down. The 500 words above was meant to be a brief introduction to a few reviews of what could be called ‘joyful noise’ and an explanation of why I might be receptive to a bit of cheering up at the moment. Shall we crack on?
Robin Foster – Shitty Noise Moon & ADHD NEOWZ SCHWAB
The charming Robin Foster got back in touch at the start of the year to steer me towards his new Bandcamp site (all aliases are his) and introduce his notion of ‘Happy Harshcore’ which he described in an email as:
…basically harsh noise without the dead babies and Nazi themes.
I was tickled by this as his label is perilously close to ‘happy sadcore’, one of the mythical sub-genres that Chris Morris used to befuddle witless interviewees when talking about the mythical drug ‘cake’ on Brass Eye (I think). Heh, heh – every possibility in music will have its day. I downloaded a bunch and… lost them down the back of the hard-drive for six months. Mea culpa. Anyway, their rediscovery was at an opportune moment.
Shitty Noise Moon is eleven genre-spanning short tracks from Robin’s fun-fur lined studio. Kinda like one of my toddler’s energetic crayon drawings converted to electrostatic squigglecore. Like the chatter of noise-punk dolphins disgusted at the new age appropriation of their culture and reclaiming the sea for break-fin, blowhole-flaring racket – that dreamy sunset poster mum and dad are on can fuck off. Like groaning, out-of-phase EVP muttered by a spook bumping along the virtual fences of the Ghostbusters containment facility. Plenty to make the listener smile here – not least the invitation to join a recording of a family enjoying what sounds like a backyard display of home-made fireworks.
Despite the title, the seven tracks of noise improv that comprise ADHD NEOWZ are longer and at least as coherent (make of that what you will) as those on …Moon. Perhaps this album is its older brother, perhaps the Ritalin is starting to have some effect? A couple of these tracks are addled and Usurperish, some feature a nostalgic gristly throb. The best of it is paddling in electric foam burped onto the shoreline by a mysterious, glowing shipping container, crowbarred overboard by suspicious crewmen. You open a soggy document wallet bobbing in the surf and read ‘Caring for your Shoggoth’ at the top of the waterlogged paper. Urgh, what’s that fizzing into being in the jelly around your flip-flops? Eyes?! Teeth!! RUN!!!
Heh, well I thought it was funny and I am very grateful to Robin for the distraction. Plenty more where that came from, thankfully.
Tags: crackle box, improv, lo-fi, new music, no audience underground, noise, patrick cain, phong tran, power moves label, tapes, true bedroom recordings
THE SHOUTS FROM THE SEA – s/t (tape, Power Moves Label, PML 010, edition of 53 or download)
The UK General Election result is a disaster. On a personal level, as a clerk employed in the public sector and suffering from a long-term, disabling medical condition, that’s me fucked. A few ‘challenging’ years ahead, no doubt. For society as a whole, well, there are many commentators far more astute, articulate and stronger-stomached than me picking apart the implications and the internet is awash with their analyses. Suffice to say I follow the Zanntone line when it comes to the Conservatives and their supporters. Ugh. Shall we throw open the windows, change the subject and hope to find some small solace in the work of our friends? Please.
Noise is a joyous, life-affirming, heart-bursting business. At least it can be – I know there is a reactionary old guard who insist that true underground noise has to be ‘transgressive’ and ‘confrontational’ but fortunately they are dying out (auto-asphyxiation accidents whilst wanking over Japanese bondage porn, mainly). Anyway, those cantankerous curmudgeons are, as ever, missing the point. In these troubled, jaded, cynical times what could be more revolutionary than heartfelt and sincere enthusiasm? Radical, eh?
Speaking of which, if friendliness and public displays of appreciation were crimes then Phong Tran would be trussed up like Hannibal Lecter on a day visit to the fava bean farm. Here the Washington DC based musician, digi-crate digger and twittervangelist for transcendental sound is joined by fellow traveller Patrick Cain and between them they tear it up over nine tracks of relentless noise improv.
The tagline of Power Moves Label, the host of this party, is ‘true bedroom recordings’ – a spirit that is gloriously represented by this release. Problem tooth? Can’t get an appointment at your dentist? Stick this on, lean your jaw against the speaker and the aching peg will be shaken out of your head before you flip to side B. In a tradition within lo-fi music stretching back to at least the 80s/90s tape underground there is no bass to these recordings – just a scouring, cleansing wash of electrostatic treble. I don’t know if this approach was a result of shonky recording equipment, choice of instrumentation (crackle box, prepared guitar, electronics etc.) or an artistic decision to simply not give a fuck. It doesn’t matter. Once recovered from the initial shock of the spanking, the listener’s cheeks begin to glow red with a warmth that is, *ahem*, strangely ‘stirring’.
Don’t expect a uniform chalk-white cliff-face though. Flinty protuberances catch the light and texture the skronk. The nine tracks are easily differentiated on repeat listens and there are gaps between them in order for you to clear your throat and straighten your tie before P&P crank it up again. At a couple of points the chaps even (almost) settle into what I believe is called a ‘groove’. Overall the album is like harsh, shade-defying, mid-morning Summer sunlight, come to boil away your hangover and leave you invigorated enough to consider restarting the session at lunchtime.
The last couple of seconds are noteworthy enough to merit their own paragraph. The racket cuts to an amused/bemused voice asking:
What are you guys doing?!?
…and Patrick or Phong replies:
Just playing music, heh, heh
…in the half-sheepish/half-defiant tone of an already stoned teenager who has been caught rolling a joint by his mum. Aww… busted! It is a beautifully self-deprecating celebration of bedroom recording and tickled me as hard as listening to Robert Ridley-Shackleton talk to himself as he struggles with his kit or, a favourite moment from back in the day, Rob Galpin audibly deciding to answer a ringing phone mid-track.
I chuckled as I repeatedly rewound this moment before flipping the tape. What was that tingling sensation cutting through the fug of depression? That sudden lightening of my spirit? Could it be? Yes, I think… Despite everything I just might be… Yes! It is! I… am… having… FUN!
Tags: council of drent, david birchall, dictaphonics, improv, joe murray, new music, no audience underground, noise, phillip marks, thf drenching
David Birchall, THF Drenching & Phillip Marks – The Ludic Clamp (CD, Council of Drent Recordings, CoD007)
MTHRFCKR! FSN HS BN DRTY WRD FR LNG TME. FCK STNL CLRK & HS BSS SL SHT. THS S TH RL DL FSN-WS. DPE S CDE MNY DD.
BRCHLL – GTRS: XPLSN, CRCKL & SQL. FST & RSPNSV. DRNCHNG –DCTPHNS: FFW SCR, FDBCK WHN & DFT THMB. TH GNRL. MRKS –PRCSSN: TNKL, CRSH & SNSTV FLTTR. CNG N TH CKE. SPR-FZZNG BLL F RMSHKL NRGY; LK WTHR RPRT XPLDD N CLD F CRSTL MTH!
FNS LKE BTCHS BRW? THRS SMLR VB & FL, GRT PLRS BNG LLWD T PL T TH TP F THR GME MTHRFCKRS!
CSCDNG CLTTR, SKTTR, N NSCTS N TH FRTZ. WHN TH GRP PPS RGHT LKE PP-TRTS TS N RGT HLLCNTN – PRWNS SHVR. WHSKRS TWTTR.
WHN BTFL STPS, MKNG SNS F LD PNTNGS JST DNT CT TH MSTRD – NW JGGD STHTC, SHRP S STR.
FRSH LKE RN-RCH SPNCH. RSPCTFL CHS.
DNT B SQR. BY BY BY AT CNCIL F DRNT.
Tags: andrew fearn, bird people, bridget hayden, c. joynes, claire potter, dervishes of khartoum, drone, electronica, extnddntwrk, fort evil fruit, free folk, improv, jose guerreo, new music, no audience underground, noise, rastrejo, sleaford mods, sophie cooper, tapes, the restless dead, ulrich rois
Bridget Hayden & Claire Potter – Mother To No Swimming Laughing Child (tape, Fort Evil Fruit, FEF036, edition of 100)
The Restless Dead and Bird People …Meet the Dervishes of Khartoum in the Confluence-of-the-Nile (tape, Fort Evil Fruit, FEF034, edition of 75)
Extnddntwrk – By (tape, Fort Evil Fruit, FEF035, edition of 100 plus download only extra tracks, second edition of 100 in preparation)
Rastrejo – Fractura de Miramientos (tape, Fort Evil Fruit, FEF033, edition of 75)
Bridget Hayden & Claire Potter – Mother To No Swimming Laughing Child
Mother To No Swimming Laughing Child is a new collaboration between author Claire Potter and musician Bridget Hayden that gives a voice to text from Potter’s 2014 publication Mental Furniture. On this tape, extracts from the text are read by Potter, combined with sounds from Hayden and the results are fascinating. This deeply considered union works to produce a very whole sound and together they inform the narrative rather than it being a straight forward ‘words read over the top of music’ approach. On ‘Still Woman Cold’ Potter reads the text in hushed tones and creaking floorboards are heard in the background giving the impression that she is hiding from whoever is making those sounds happen. It’s a difficult and unsettling listen but uniquely compelling.
Potter and Hayden address trauma and deflection during Mother To No Swimming Laughing Child. It’s hard to discuss trauma, both your own experiences and those of others. It’s difficult because in some cases people are so quick to hide what they are actually feeling rather than address things that are not OK, choosing to internalise the experience and protect others from hearing it, which is an easy way to hide from judgement. The track, ‘Brendan Brady’ is named after a tragic character from the soap opera Hollyoaks. Brady is a murderer, a drug dealer, an abusive partner, a typical bad guy who the writers of the show later revealed was the victim of incestual abuse. The album takes this, and other examples from the show, as source material through which to deliver the topic of trauma and projection of unknown events. In addition to the words, static, aggressive guitar and incidental sound are included maybe to mask the story and stuff it down the back of the sofa.
Given the topic, it’s not an easy listen. Someone described this tape as “distasteful” on Rate Your Music (my most hated music website) and although I disagree I can understand why they might have written that because bringing up subjects like abuse are considered distasteful by some. This is an uncomfortable subject but this tape doesn’t worry about that. I congratulate Potter and Hayden for broaching this issue and for creating one of the most intriguing and thought provoking recordings I’ve ever heard.
The Restless Dead and Bird People …Meet the Dervishes of Khartoum in the Confluence-of-the-Nile
The concept behind the creation of this release is really interesting. The story is that UK folk musician, C. Joynes, during one of his many travels round the world spent some time in Sudan where he recorded a weekly Sufi Dervish conference. These recordings provided the basis for this release which were dubbed over by two groups – Side A by a curious sounding improvising collective that operates as part of a commune in East Anglia called The Restless Dead and Side B by ever evolving Austrian free folk and drone collective Bird People. Bird People, for those who don’t know, are ‘fronted’ (I’m sure he wouldn’t like that word but for want of a better phrase…) by founder of Feathered Coyote Records, Ulrich Rois. Feathered Coyote and Fort Evil Fruit share a lot of common interests in the artists they work with (and the managers even look alike!) so the partnership makes sense.
Side A is probably the more successful in achieving a seamless collaboration between the Sufi recordings and the UK artist’s contributions. Listening carefully you can pick out additional out of tune guitars (I suspect homemade versions), drums, repeatedly bowed strings and percussive elements jamming along to the original recordings. The recording is respected and the ebb and flow of the piece is considered well within these jams resulting in a great, but not ragged, clatter.
Side B sees Bird People take the recordings and make something quite different with them, which I’m into. We hear gorgeous Indian instruments produce drones that accompany the Sufi singers but also come into their own throughout the 23 minute piece. At one point the drones perfectly match the volume of the original recording rising and falling then eventually leading to a point of silence before coming back to the vocalists, this time with even more drones and an audible banjo solo. This is brilliant and thoughtful music.
Extnddntwrk – By
Extnddntwrk, aka Andrew Fearn, is now best known as the guy who makes the music for Sleaford Mods but he has been making music since well before he joined Jason Williamson. I’m really pleased that he has started to release his own solo music again including this new one on FEF.
This huge collection of songs spans about an hour and a half (if you include the bonus tracks from the digital download) and a lot of ground is covered in that time. My first thought on hearing it was that it would make an excellent soundtrack to a futuristic horror film and in the way that some great horror soundtracks, like Marc Wilkinson’s Blood on Satan’s Claw for example, have an overarching theme running throughout so does By. This is seen not least in the track titles, which all have the word ‘by’ contained in them, but also in the grim, downbeat, and sometimes outwardly scary atmosphere these pieces conjure. I want to be the first to be told when the film to accompany this tape comes out.
On By Fearn employs a range of acoustic instrumentation and high quality production to evoke dark imagery. His computer generated beats are of a subtle brilliance that provide a base for a variety of other components including piano, harp, bells and worked-in field recordings to name just a few. Some of the tracks such as ‘By Myself’ sound like they could have been generated by lo-fi software. This track has a weird and unsettling melody line that wouldn’t be out of place if found in an early version of the video game Doom (wow, the memory of that game just made me shiver!). In another moody track, ‘Death by’, Fearn plays subtle guitar lines that complement light keys. I can’t get over how delicate this release is and what a stark contrast is it to the music Fearn makes in his other band! This is very intense work and shows Fearn to be an accomplished musician and producer.
Rastrejo – Fractura de Miramientos
Rastrejo is a new artist to me but a quick look at Jose Guerreo’s back catalogue reveals he has been involved in several projects in Valencia, Spain for a long time. Rastrejo serves as his experimental dance project and this release is really toe tapping. It’s a short but sweet affair, totalling only 19 minutes.
Guerreo uses stark drum machine patterns and sings in a dramatic way on ‘Malgastando’ before launching into a wild, droney, synth solo that all works really well. The fully-fledged songs that involve singing are definitely this album’s strongest point and these are sandwiched between other musical ideas. I kind of wish the release was a bit longer because the last track ‘Mercader de Sencillos + Ballesta sin Fisuras’, which seems be influenced heavily by Talking Heads particularly in the vocal delivery, is a real banger and it feels like the album really takes off at this point. Oh well. I’ll be checking out other music by Rastrejo for sure.
Tags: ben morris, chocolate monk, disillusion.dot.dot.dot, duncan harrison, field recording, improv, joe murray, karl mv waugh, lost wax, musique concrète, new music, no audience underground, noise, reckno, tapes
Karl M V Waugh – unnamed murk (coagulated detritus may 2014 – january 2015) (download, disillusion.dot.dot.dot)
Karl M V Waugh – Varnish Crease EP (download, disillusion.dot.dot.dot)
Duncan Harrison – Others Delete God (tape or download, Reckno)
Lost Wax – The Poacher (CD-r, Chocolate Monk, choc.304, edition of 60)
Karl M V Waugh – unnamed murk (coagulated detritus may 2014 – january 2015) and Varnish Crease
A lazy, taking a line for a walk, kind of listen. That’s no criticism readers. I’m loving this particular ramble with Karl; round the town, out past the betting shop and onto the Downs, chatting and shooting the shit as we wander.
These unnamed murk pieces are poor orphans (coagulated detritus indeed) with no home to go to. And for me that makes things all the more interesting. Are you telling me these pieces don’t fit into your soundworld Karl? Man…I gotta check out these oddballs – they are going to be the nuts.
The modus operandi remains classic K M V Waugh – an object or technique is picked up and fiddled with for a while and each possible combination of rubbing, striking, bowing and blowing rained down until all options are exhausted.
‘Bread Failure’ dances with some close mic rustle, jazz-gob, fake sine wave feedback loops and acoustic guitar fumble as crispy as an early 2000’s Usurper jam. ‘Close Net’ starts with a slo-mo rave synth trapped in a bathysphere; the two Navy SEALS having it large while contact with the surface is registered in day-glo Morse and trippy emoticons. Outside the Angler Fish get anxious with stress-harps. Blimey, Jacques Cousteau couldn’t get this low. ‘Nada Test’, the most lovely one of the lot, is an untutored, unconscious guitar/balalaika/mandolin (?) improvisation heavy on the Korean and Rembetika influences. There’s pure innocence in this playing, a passionate exploration and experimentation that’s scrabbling but at all times searching for a melody to grasp out of the clear blue sky. The last 2 minutes of this 21 minute piece add a slight distortion giving you a soft landing destination.
This mini-album, the wonderfully titled Varnish Crease, is an 18 minute smeared collage, a bold painting in Bovril hues.
Industrial grot (a malfunctioning PEZ dispenser perhaps?) and novelty dice dropped into a chunky whiskey tumbler form the base coat to KMVW’s meta-poetry. Like several porridge-slugged mouths reading their dreams simultaneously this has a head-fudge quality. Ever been lost in a crowd? This mimics that slight panic and claustrophobic feel exactly.
Wonk-hop snatches of sound are introduced like RZA’s all blunted on Funeral Dance Party; a South Coast One Wobbly Egg. In fact this whole crease has a real Cidershed feel with that slight tint of threat added to the vulnerability.
Essential listening for any young dream-voyager.
Duncan Harrison – Others Delete God
Pearls dipped in butter swirling round the palm of a brown giant. The slick tones fill the smooth handful; fingers wiggle to spread the flutter.
This is a disarmingly charming and hypnotically beautiful opener from his holiness Duncan Harrison.
Gurble-gobs, slop and slobber the lazy consonants and sighs that very skitter with finger-manipulated tape skank. It soon turns into pigs grunting quick enough (oink oink oink) and a sonic Richard Scarry cartoon of crash-bang-wallop.
A water butt slowly fills with rancid treacle as tiny black imps dance around the bloated barrel, slapping their bulbous bellies and blowing crimson smoke rings. A watchful Duncan scoops up the imps and ingests them all a-wriggle, recording their hapless plummet down his gullet.
But please don’t take my sub-Stan Lee dribbling as evidence of sonic goofiness, cynically used to leap-frog to the desired ends (freedom, bliss, ecstasy etc). Repeated listens to this humble tape reveal this to be a mature work, a self-assured work, a personally resonant work floating slowly into my consciousness. There’s no reliance on underground clichés here. The psychedelic-domestic of bus number recital, buffeting wind noise, slow chip-pan ‘pop’ and throaty Gatwick roar have filled my heart with honey and my head with sleepy nutmeg.
Side one ends with another real-life vignette, this time trad-jazz busker (think bowler hat and pinstripe waistcoat) overlaid flinty guitar pluckage (think sloppy Arran jumper and orthopaedic shoes) bringing two worlds together – the beach front and the bedsit – into a tangy-sharp fragment.
Side two opens with a wanking mumble, a half remembered dream of the time John Noakes applied Chopin’s poesie sonore methods in the Blue Peter garden (don’t bother to ‘YouTube’ it. This nugget was never televised and then destroyed on direct instructions from Biddy Baxter.) as the tape edits flutter around his West Riding glottal stops.
Valhalla opens its gates to welcome another fallen hero. For a time the drunken revelry quietens and the bard’s horn plays mournfully through the mist. Shields become bronze gongs beaten with a soft as the captured skald drones on.
Back in the studio Duncan dons his silk gown and adopts the Crane stance blowing on flesh bassoon until a feeder tape of allotment gristle joins the sound mix like it was the most natural thing in the world. Birds aimlessly chirrurp and flapper and cast iron tools are tinkled like collectible glass bells. I can feel the late afternoon sun in this recording baking my neck and making me sleepy. This. Is. Delicious.
A game-changing tape from D Harrison. It looks innocent enough for sure; but this tape’s got a confident swagger that’s unmatched right about now.
Lost Wax – The Poacher
Super-classy Musique Concrete from Ben Morris that takes full advantage of the far-flung places he’s laid his loveable mop-top over the last couple of years (China, Vietnam and even Derbyshire).
The Poacher is split into three parts, each third revealing a different side to Lost Wax, that unlock and fold out on hidden brass hinges. Let’s look inside…
The first third, ‘The Sun is a Hammer’, takes clear recordings of tin parakeets, smoke-train rumble and happy-clapping ritual and slices them up nice with a razor like some heavy radiophonicia dripping secretly out of 1970s Bulgaria.
The pace is stately, like a nurse on a bike, as Ben adds layers of hiss and schloop weaving them into a tapestry fit for a medium-sized town hall. But before we can even jiggle a heavy chain of office beautiful voices creak out of the floorboards. They soar and float like rainbows. Flutes trill. I swoon.
Next we visit the watch menders convention for ‘Time Travel Corrodes the Mind’. A hired drummer fiddles with his high-hat (fairly obsessively tiss-tiss-tiss) as the cummerbunded MC beckons in a phalanx of beach balls full of gaseous hippy crack. The massed horologicalists look up from their chaotically ticking handfuls but relax as Ben, safely at the controls, squeezes out a rhythmic pulse for the cast-iron disco crowd. Tapes of paranoid mumbling (source: CIA bugs, Cuban Missile Crisis?) bookend the track as several men bend aluminium picture frames in your left ear.
This tasty trio is completed by ‘Home, Exhuming a Shed‘. Imagine F.M. Einheit getting ready for a date (checklist – red rose, lump hammer, rusty chain, trumpet, gas canister) dressing in his best dungarees with bear-grease controlling his wanton quiff.
Gnarled hands rip up steel casings and pummel a brass boiler with oranges. The bright zest fills the air and this sudden change in atmosphere calms our man…his fingers caress the splintered keyboard moving from black to white. Digit-shapes transfer from 3D geometry into calm sound-pools that sit gently rippling in the citrus breeze.
Tags: blood stereo, chocolate monk, collage, dictaphonics, dylan nyoukis, f. ampism, fritz welch, humansacrifice, ikuisuus, improv, joe murray, kieron piercy, no audience underground, noise, spoils & relics, tapes
Kieron Piercy & Dylan Nyoukis – An Unripe Preoccupation with Nonagenarian Moroseness (CD-r, Chocolate Monk, choc.305, edition of 50)
F.Ampism – Pattern Interrupt (CD-r, Chocolate Monk, choc.286)
F.Ampism – The Ancient Wing (tape, IKUISUUS, ikasus-046)
f.ampism & f.welch – shouting a hymn down the cosmogonic dream hole (CD-r, humansacrifice, HS009)
Kieron Piercy & Dylan Nyoukis – An Unripe Preoccupation with Nonagenarian Moroseness
Mr Kieron and Mr Dylan present a 27 minute odyssey – a minute for every year of Kurt Cobain’s life on this coppery beast.
Just in case you’ve stumbled on RFM from Cuba or something here’s the back story. KP hails from inland Megalopolis Leeds and plays tapes and devices in the hypnotic-power trio Spoils & Relics. DN plays similar tapes and devices but this time from the damp coast of Brighton with memory-scrub duo Blood Stereo. Together these gently glowing men methodically flip the switches in my head marked ‘fump’, ‘whirr’ and, most importantly ‘squelch’. Right on!
Kurt’s early years are depicted as a gentle hissing – a rising of the sap through hollow young legs no doubt! Cheeky. But by Junior High the AM Radio starts to fill his blonde little head with snatches of ‘The Mac’ stripped of everything apart from Stevie Nick’s breathy acrobatics (she sighs like a pro), each expulsion of C02 piped through an intricate system of fur-lined loops.
Our man comes of age. And while much ink is spilled over his punk rock credentials (the Flipper jean jacket patches, the Scratch Acid mixtapes) little time is spent studying his Linguaphone experiments, playing Greek Progressive Rock through that new Walkman contraption, gurning along while dropping potatoes into a ceramic bowl. But of course Piercey & Nyoukis nail this moment perfectly. History is rewritten – check your facts Charles R Cross!
The move from Fecal Matter to Nirvana is a small one, but still important to note. With eyes firmly fixed on the prize of rock explosion, a series of stretched-out faux frog calls batter my poor eardrums… but all rippled and slushed. Some said the decision to open that infamous Reading Festival set with a choir of Pelicans was a career-limiting move (and some still blame the drummer) but those brazen sea-birds honk with a mournful timbre – a cosmic disaffection rather than a cry for raw herring that says more about The Stooges and the taxonomy of ‘alternative rock’ than any limp chord or riff.
The birth of a child and a marriage takes a psychic toll as serious as Geffen contracts so it’s no wonder the mood turns darker with a comfortable helplessness – skittering pops and shuffles leaking out of my tiny earbuds mirroring the sound of grazed knees.
Now it’s near the end; the final moments amplify the torment of ‘the Rome incident’ and track the disembodied voices of the medical staff and the cardio vascular crack of the ribs. It’s not comfortable listening, but then again what is? You want comfortable? Drop some Mantovani. You want real? Plug into this delightful moroseness and let those silent tears well up and spill from your fat eyelids.
F.Ampism – Pattern Interrupt, The Ancient Wing, f.ampism & f.welch – shouting a hymn down the cosmogonic dream hole
All hail F.Ampism, king of the Quiet Village and noisy jungle!
Pattern Interrupt creates a sweaty negative zone where swollen lacewings fripp by at ear level and recycled bicycle bells become a spooked gamelan.
If you peak from under your oversized pith helmet you can watch the noble tribes holding a soft revolt, a velvet coup by waving their iPhones at the gawking tourists, SIM cards full of classic Ubuweb downloads. The cultural incongruence is too much for some holiday makers and they run screaming through the sinister Swiss Cheese plants. Those that remain hawk it up for pregnant yuks.
But it’s not all Hugh Tracey tropical offerings. The frosty steppes get a look in too. Picture a landing site for a burned-out cosmonaut; thousands of miles of desolation stretch out in all directions with only the unthinking wind for company and a boner in your spacesuit.
Mark my words. There’s a yearning quality to these recordings. A longing for a retrofitted future where Margaret Mead pursued foul-electronics rather than Anthropology and Blind Lemon Jefferson composed for the frost Calliope. This alternate future/past is best played out on ‘The Infinite Inward’ a wormhole through NYC docks (circa 1946) via Moondog’s fully open third eye.
No-Audience Exorcists take note: ‘Did you mean Wasabi’ features some of the most evil wonk-muttering, like the wolves that live in the wall of our haunted house. ‘X’ marks the spot me hearties!
The Ancient Wing tape has found a home on the awesome Ikiuisuus label* and folds the incidental music from Ulysses 31 into World in Action Technicolor. The separate tracks, peppered with ‘bloops’ and ‘bleeps’, work as a perfect whole and sound like a beautiful analogue lava-lamp slowly melting in a head shop.
And, overall the mood is funky; damn funky. I don’t get the opportunity to use the ‘F-word’ much on these here pages, but as any funkateer knows, it’s all about an appreciation of space, of slipping your timing and mining the absence. What you leave out determines what the listener has to put in whether it’s on the god-damn one or not. You gotta work for your funk and F.Ampism makes my pulse rate flitter.
But, apart from getting me a hot foot this collection is giving my memory centre a good old going over. The partial, ever mutating tunes and rippling, bubbling synths that lick like a sauce kick off a series of half-remembered sensory dreams: the toilet smell of Whitby, this hiss of an opening vacuum flask, the feel of vinyl car seats in July. I feel like a dormant part of my brain is flickering into life, the lights are starting to glow. An aid to meditation and psychic recovery!
On the quite beautifully packaged Shouting a Hymn Down the Cosmogonic Dream Hole our very own F.Ampism is joined by my favourite transplanted Texan – Fritz Welch. The theme is jazz-tinged industry with a busy, busy earful of tinkering taps, bells, squawks and diddles moving across eight untitled micro-moments. I’m delighted to hear Fritz is back behind the drum kit again with super-sharp scattering as dry as twigs vibrating the piggy membranes. F.Ampism is majoring on Dictaphones and I have to say, one Dicta fan to another, this playing is nothing short of astonishing: witty, quick of thumb and lyrical.
Although the energy level is cracked up to Jolt Cola levels that doesn’t mean any detail is lost in the delightful kerfuffle. ‘Recorded in Brighton & Glasgow’ proudly proclaims the label and I’m guessing this is no clinical studio jam but a warm-up, pre-audience knock-about that captures all the spontaneity of a show without the beer-fug and crowd noise.
The first couple of tracks hit that pretty classic drum/Dicta duo bullseye, and after a while voices, and longer snatches of tape get fed into the audio-mincer. My bristly ear picks up some of Fritz’s Crumbs on the Dumpster tales of youthful indulgence amid the clatter and flummox. But nothing stands still. The subtle sound of coughs and whistles slide into the brain-pan and add an intimacy sadly lacking in your Incus-wannabe releases. Wibbley-wobbly mbira tones get plucked and tea cups jitter on bone china saucers; it’s all grist to the collective sound-mill but never feels slapped on with a trowel. That old balancing act – being free in spirit but precise in intent is easily soft-shoed across Niagara. The double-headed Fritz-ism wants you to listen and ENJOY listening.
So Enjoy. Do it!
*Hey cheap skates! Ikiuisuus not only brought us F.Ampism on this very day but you have to check out these free downloads from a whole bunch of beards and forest folk on their colourful website. The label that keeps on giving eh?
Tags: ali robertson, alien passengers, battery humans, claus poulsen, collage, dictaphonics, drone, electronica, ezio piermattei, field recording, fuckin' amateurs, giant tank, guy warnes, improv, joe murray, jon marshall, new music, no audience underground, no thumbs, noise, pascal ansell, psychic mule records, punk, scurge, skrat records, tapes, tom white, tutore burlato, uk hardcore, Waz Hoola, winter family
[Editor’s note: Joe Murray, our resident beat prophet, has convinced his skeptical editor to temporarily abandon the usual formatting for reasons that will soon be apparent. Thus there are no release details up front, pictures will follow reviews and links will be found where they lay.]
Like all my RFM comrades I have a teetering bunch of tapes to review. Don’t get me wrong, I’m not complaining. It’s a privilege and an honour to hear so many dispatches from the No-Audience Underground.
But sometimes I feel I’m doing you a disservice my friends. It’s the same old, same old format: slot tape in, listen thrice, make notes, look at any other internet gubbins, write up final copy, post to Rob and await his judgement a’ tremble.
But today I want to spice things up baby. I’m going 50 shades on this shit.
So, in order to make things (hopefully) more entertaining and experimental in spirit for you, my dear reader, I chucked all my review tapes into a drawstring bag and will pull them out, randomly, sight-unseen ready to slap into the cheap-o hi-fi. No prior knowledge, no prejudice etc.
Mystery Tape One. The first thing I notice is an ambient hiss, growing and forming, covering all the other electronic ‘chunk-ka-kuh’ like Spanish moss. Things get less rhythmic and more drawn out (elongated gong strikes / trapdoor creak) creating a soundtrack feel with some floating voices chattering. There’s a synth or something humming giving this a very European feel… a dark Froese perhaps? Now there’s electricity in the air as the test tubes fizz and pop; a scientist twitches and mugs singing snatches of opera in a cracked voice. Somehow the radio picks up their brain waves: forgotten memories of the seaside and music hall? An Anthony Caro sculpture comes to life with deep space moans. Blimey. Who’s this? I pop out the tape and check it. Bless my soul. It’s the ever lovely Claus Poulsen with Collected Dreams on Skrat Records.
Mystery Tape Two. OK…so far so good. I fumble in my bag and pluck out the next offering. It drops neatly into the wide-mouth slot and kicks off some dark rubbery knockings, slurm residue and spurks-thumb. Oh yeah man…this is tremendous stuff! There’s a treacle-like bubbling and whomping, like some living salt-water lake throbbing dangerously, searching out new tributaries with its briny fingers. This is pure sound abstraction that builds layers of thick, dark sound-paint until a giant glove smears the oily pickle. The noxious mixture spreads thin, lightening the hue and spreading the sticky mixture over frame, wall, floor and ceiling until we are all covered with the stuff – a burnt Rothko orange. Side two opens up with a fling of ducks all ecstatically hawking and honking. These sounds are passed though some electronic doo-hickery that seems to split and repeat certain quacking frequencies so sections of the greasy reverberations get plucked for presentation with a sheen and glimmer. The water fowl retreat to roost as we dip our ears below the slick surface of water to luxuriate in music for rowing boat hulls; wooden creak and swollen pop. Gosh, this tape is really hitting the spot. Who do I have to thank? I should have known…it’s ‘The Ambassador’ Tom White with his Reconstruction on Alien Passengers.
Mystery Tape Three. This tape starts off with some nice tape gunk that moves unhurriedly between half-tunes played on fuzzed-out organ. A female voice with the smoky cadence of William Burroughs tells a tale about some sci-fi travel (or something) while Working Men’s Club beats (tiss-be-be-bon-tiss…) flit in and out of the organ tunes. And then found sound and field recordings get thrown into the mix. Not in a haphazard manner, no sir, this is finely tuned and tweaked like the exact halfway point between a Radiophonic performance scored by the late great Broadcast and waking up from a particularly vivid dream. I have to be honest with you readers… I’m stumped here; I have no idea what or who or when this is. It’s certainly more lyrical than the usual shimmy but the narrative and structure are all over the shop giving this a delightfully Victorian psychedelic edge. I can’t wait any longer; I crack under the pressure of not knowing and check the cover. Ahhhhh….it’s that beautiful and wonderfully eccentric duo Winter Family who are playing here with their How Does Time tape on Psychic Mule Records. It is indeed a play, a play designed to be listened to on a very particular train journey between Besançon in France and La Chaux-de-Fonds in Switzerland for very particular watch makers. The ultimate commuter listen.
Mystery Tape Four. Your typical Northern pub chatter sets the scene with clattering bottles and knowing laughter. An on-stage introduction welcomes you and says, ‘This is for d boon’ before a proper guitar riff chugga-chuggas. OK…that’s a reference to the wonderful Minutemen – I get that; are we jamming econo? Is this gonna be some tour spiel dude? But, at the same time I’m expecting some tape collage work to start up, a wonk-move or gurgled gob etc. Some music concrete shit and all that doings. But no…this is pure UK hardcore, recorded very, very live, possibly from some archive with guitar/bass/drums and an angry attitude. Think Heresy or something but with a bit more of ‘baseball bat to the face and neck’ feel. The songs come in short, sharp blasts. Three or four in a row – chunka – chunka – cheer – crowd babble – chunka- chunka. It’s invigorating stuff and seems to get looser and more chaotic as the tape goes on (always a bonus for me). I’m totally lost here. No idea who it is or even how it crept into my review pile. Shall we look readers? OK…it all comes flooding back. This is Battery Humans on Fuckin’ Amateurs with their For D Boon tape. It is recorded live and recently: 6th September 2014 to be precise and features one Guy Warnes AKA Waz Hoola, the unsung hero of the northern drone scene, on drums. The usual F#A! standards of presentation apply with anarchy inserts, random gaffer tape sculpture and art fliched from Viz Comic. Side B is another live recording but this time from Scurge in 1991. You want rage? You got it.
Mystery Tape Five. I press ‘play’ and an undulating, chemically insistent, flute trills with the sort of chaotic abandon that pins Old God MANA-YOOD-SUSHAI into a restful slumber. A thousand chaffed lips puff noxious gas through human thighbone pipes while the jester dances merrily on (like he’s posing for a Marillion album or something). Gosh…this is pretty intense. The next track saunters by sounding like that crap ‘pre-computer’ computer game Simon hooking up to Terminator’s Skynet and crashing civilisation as we know it into a frosty digital sludge. Blimey…there’s a hard stop as I turn the tape over but as soon as I click things into life the holy racket starts again. This time I’m getting something like a rouge Funkadelic jam; real cosmic slop rejected by Mr Clinton for being too out-there as layers of keyboard fuzz and squealing huff pile up and up and up. A brief moment of calm (the keys ape Vangelis in blade runner tights) lets me breathe again before I’m pushed out a 30 storey window (metaphorically, dude – don’t panic, man) and, as I tumble, I catch snippets of Mexican TV, Concrete Noise, psychic experiments and terrible quiz shows as I hurtle past the apartments spinning dangerously out of control. An uneven gravity pocket spares me a sticky end and I land, gracefully and precisely, into a pair of oxblood Doctor Martins – the world’s kindest bootboy. Crows cackle around me, applauding with electric beaks. I check the details, no wiser of this tapes provenance but washed clean by its synesthetic high, to find out it’s my old Papal Bull buddy Jon Marshall and noise-nudist Pascal Ansell cavorting under the No Thumbs banner. This beauty’s called Slug Birth and is available from the brand-spanking-new Tutore Burlato label. If TB is a new name on your radar the quality hallmark of its founder, one Ezio Piermattei, should seal the deal.
Mystery Tape Six. A hawking ceilidh – all X-ray gingham and a skilful cheek-slapping solo. Reet…now there’s some ‘brum-t-t-tuh’ ursonating richly, fupping my sonics. Gosh…this is a tasty oyster to be gulped down whole. A general Scottishness takes hold with gristle and blum; stiff wire wool scraping and beautifully played Dictaphone garble. I almost trip over my big feet in my rush to turn it over as I’m aching for side two. And that’s where my experiment has to end. No system is perfect. It’s darn near impossible to ignore the fact a voice immediately states…
I’m Ali Robertson
…in Ali Robertson’s voice, soon to be joined by a variety of other familiar burrs. This side is one long ‘game’ of read personal biographies all overlapping (stop-starting) set to strict rules that our cuddly despot is keen to enforce. Waves of casual voice and chatter settle into strange rhythms – probably some mathematical fractal shit, interlocking as neat as a Rubik’s satisfying ‘click’. So yeah…durrrr…it’s Ali Robertson and his handily titled Ali Robertson & Friends tape on the always brilliant Giant Tank label.
So my excellent friends, I hope that worked for you? Me? I’m refreshed and re-born! My ears are prickling with cleansing static and expectation.
But tell me: how are you doing?
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…)
Tags: benjamin hallatt, charles dexter ward, crater lake festival, culver, dale cornish, dictaphonics, drone, dylan nyoukis, electronica, evil moisture, improv, jerome smith, joe murray, kay hill, kieron piercy, lee stokoe, live music, luke vollar, marlo eggplant, matching head, mel o'dubhslaine, new music, no audience underground, noise, pete cann, phil todd, posset, psychedelia, rudolf eb.er, shameless self-congratulation, sof, sophie cooper, stephen cornford, stuart chalmers, tapes, vocal improvisation, yol
Whoo, boy – where to start with Crater Lake? Maybe with the simple and declarative: Crater Lake Festival is a day-long celebration of experimental music held annually in March at Wharf Chambers in Leeds and is organised by Pete Cann. Them’s the facts. However, over the four years of its existence it has grown into something over and above a display of the curator’s unimpeachable taste and ‘iron fist in a velvet glove’ approach to time keeping: it has become a gathering of the clan. As well as being an unrivalled opportunity to see the risen cream of ‘noise’ (some in combos suggested by Pete himself) perform to a large and appreciative crowd, you also get the equally important social side. Names are put to smiling faces, hand are shaken, warez exchanged, plots hatched – all taking place in a general air of slightly delirious enthusiasm fuelled by the constant flow of decent, fairly-priced alcohol.
This blog is known for a phrase coined as shorthand description of the scene it documents but I am steering clear of that for now. I don’t want to co-opt something that is clearly greater than the sum of its parts and can’t be pigeonholed. I will say this though: when I noticed that Pete had hooked some relatively big fish for the bill, and saw the Arts Council logo had snuck onto the corner of his poster, I asked him how he’d managed to successfully tap ’em for funding. He replied, to my delight, that he’d used my write up of last year’s festival as the blurb for his application and they couldn’t wait to shower him with cash. Despite knowing that the Arts Council has recently taken an almighty bollocking for being Londoncentric and that any application from Winterfell was going to be seriously considered, it was still a very proud moment. There you go, people: this stuff matters. Hang on a second, I seem to have something in my eye…
<sniffs, turns to window, regains composure, harumphs manfully>
OK, a word about the below. Due to family commitments – a visit from my parents to celebrate the second birthday of my son Thomas – I could only attend for the three hours from 8pm to 11pm. To be honest, given the stinking cold I had, that is probably all I could manage anyway. So, having spent the afternoon chasing the kid around Home Farm at Temple Newsam (and marveling at turkeys that looked like monsters from Doctor Who, or an illustration by Ian Watson) I arrived flustered and discombobulated into an already pretty drunken milieu. Suspecting this would be the case I had already tasked the other four RFM staffers attending (alas, Chrissie had to be elsewhere recording an orchestra) with documenting the day so all I had to organize was a group photo.
In the piece that follows the author of the paragraph is indicated in bold like this – Luke: – and interjections about non-musical aspects of the day are (bracketed and in italics). Photographs of the workshop were taken by Sof (using the ‘nice’ camera) and the awesome pictures of the performers were taken by Agata Urbaniak and kindly donated to RFM for use in this piece. I am hugely grateful to her – and to marlo for having the presence of mind to ask – and recommend that you all visit her flickr site too.
Right then, let’s go!
(Joe: Too early! We – one half of the Newcastle delegation – arrive too early at Wharf Chambers. We spot an Evil Moisture prepare for his evil workshop through the crack in the door but take the old army maxim on board – eat when you can – and scoff a scrumptious Persian meal at the place round the corner. A brief sojourn to Leeds market is broken by a call from YOL. We can sound check so I make my way back to base camp. Pete’s relaxed event management skills pay dividends. Everyone knows/does their job. Things tick like Swiss time. The super-patient sound guy balances our 10 second sound check, we nod satisfied with the racket and slope off to meet ace faces Ben Hallatt & Dale Cornish cackling in the Wharf Chambers sun trap.)
Sof: I fought my way through Saturday afternoon Leeds crowds to make it to Wharf Chambers just in time for the Evil Moisture / Andy Bolus Ghost Hunting Detector workshop. We had been instructed to bring along a non-metallic cylindrical object, basic soldering skills and undead ancestors. I’m sure I had the first two with me at least.
We all gathered round a table in the middle of the bar on which we found various items I came to know as ‘cells’, wires and other dangerous looking bits. I’m generally quite scared of electronics (old residual fear of metal work at school no doubt) and so always sign up for activities like this to try and get over this issue. Andy’s approach to the workshop was really relaxed with his main instruction being a hand drawn diagram that he placed in front of 4 of us before letting us get on with it. He was available to answer questions and sort out our various mistakes – great teaching style. This helped to kerb my concerns, I mean, if he could be so chilled holding a wand that can melt metal then why shouldn’t I be too?
There were a lot of confused and frustrated faces around the table during the process but these all turned into massive grins when the detectors finally worked out. It took me nearly 2 hours to attach the cells to a battery and a long wire wrapped around a giant pencil but you know what, it bloody worked. I mean, I’m not sure if the loud squealing noises that were produced from this thing were communications from the other side but when I stuck it into an amp through a bit of reverb at home some use was envisaged. In retrospect I shouldn’t have drank a really strong black coffee during the process because the shaky hands did become a bit of an issue but I got there in the end!
(Joe: While the laboratory is an evil hive of evil activity the wonderful folk of the N-AU turn up, firstly in ones and twos, then huddles, then mobs. I meet Sophie for the first time and gasp in awe at the purple camera she’s sporting so rakishly. The N-AU are prompt, alert and full of relaxed bonhomie. Crater Lake has started!)
Joe: fractured electronics garbled and yarbled straight outta Mel’s mini-mouth – possibly reading out what she was doing (I’m lowering the volume on this tape, I’m adding more reverb on this channel) – via a Dutch translation aid and robot clarinet. The vocal musings were calmly paced, relaxed and with an electronic softening that tickled the tiled floor all nice. Phil Navigations joined in on cyber-Taiko drum to muss things proper towards the end. Ke-tung!
Luke: droll Yorkshire instructions fed through robot vocoder. About five minutes in it dawned on me that I could listen to this quite happily for hours. My mate thought I’d left because Phil turned up and it was in danger of going ‘all musical’ not so: my chalice had run dry.
Joe: (view from the floor) dunno about this, lots of knees and boots, getting awful hot awful quick, Yol clatters…HIT IT!
Boof/~~~scree/HAWKS////zingzingzing/~~II~~:~~BAU~~~~/CLANK. The end.
Cor. That felt good.
Luke: yowser this was fun like visceral high energy free gumph played with the contents of a skip, lots of gurning growling and testifying.
Marlo: the interesting element of this performance is that opposed to some electronic noise acts that seem distanced or detached from actual live performing, these two were very alive, very awake and fully present in a visceral and physical way. Yol, as usual, used his body as his instrument to full capacity. Apparent in his performance were both his sensitivity to environment and his physiological response to Mr. Posset’s intuitive electronic gestures. Both, not shy to show some presence, expressed a reciprocal appreciation of live art.
(Joe: Later… the food comes out full to bursting with Pascal’s grapes… I’m too keyed up to eat but notice it gets a thumbs up from Lee Culver who, no shit readers, is a proper gourmet/baking behemoth. Top Marks.)
Joe: top drawer Dictaphone thumb-nastics from Stuart. The whirr and ‘scree’ of fast forwarding tape was a joy to hear as it bounced from one hand to another; Stuart flinging his luscious black locks like a metalhead and shaking like a nervous cicada. Even my tin ear picked up the subtle tape preparations and timings as skronk melted effortlessly into ethnic-plink with industrial overtones. Of course no one knows what Stuart really looks like…he threw his Kim Thayil wig into the crowd and disappeared into the balmy Leeds afternoon.
Luke: about three beers in this was lush green elephant tea. I dig the candles, the wig, the ritual maaan. Led to an interesting conversation outside. Seems in the N-AU you got your tapes lovers and your tapes haters (known as ‘taters’)
I’d rather watch him play the sounds than play a tape of it
…one geezer remarked.
He was playing a zither thing!
I retorted in his defense. I myself am pro tapes: the wow, the flutter, the plastic encased mystery.
Joe: Ben Hallatt set up an impressive reel-to-reel machine and facilitated the sound of a monkey opening a recalcitrant jar of peanut butter through the fragile, disintegrating brown tape. A play in two parts, this simian housekeeping was taken over by a more keening, knock-kneed hubble-style. All glorious drippings to clear out me waxy tabs.
Luke: my highlight of the day. Tape music with lots of pop and hiss but with, if not a tune, then a beguiling pattern. I struggled to verbalize how impressed I was to the man himself and was astounded that he had no merchandise to pass on (you haven’t heard the last of Kay Hill, readers).
Marlo: Ben Hallatt performed a nuanced, textured and atmospheric tape art set. Despite the surging, celebratory atmosphere of Crater Lake, he held a patient and meditative space. Starting from a minimal structure, he added an elaborate architecture that was sturdy and mindful. The performance was a sound journey that led the audience through this construction and left them in a different place.
Joe: Canary Yellow computer splutter. Spitting and frothing like a thousand tiny tummy kicks from the blue shrimps inside. Marie said to me,
It sounded like the 90’s.
What. All of it?
Sure, in Belgium.
I’m no flat pancake!
Marlo: I had previously seen Dale the week before in Nottingham. His mood was quite different this time. With alert attention, he proceeded to command his laptop to amuse, irritate, and tickle the audience. If I were to have a party, I would invite Dale. Always enjoyable, instead of baking him a birthday cake to compliment last week’s set, based on this performance I would make him profiteroles. Thus instead of a treat that is made for pure enjoyment, celebration, and taste, a pastry as work of art which takes many steps prior to presentation (and I like profiteroles a lot).
Joe: Soundtrack to Night of the Living Squelch that somehow managed to dissect Dylan & Kieron so one duo played breathing noises: hisses, coughs and sighs and the other ‘ghost’ duo played the sound of the first duo running their outputs through resinous pinecones. By gently slapping their foreheads bubbles of gas birthed from parted lips adding a metallic sheen. Please stop me if I’m getting too technical.
(Joe: Later…. booze is consumed, hands shook and booty exchanged. Among the hugs plans are hatched and reputations blackened! Later… we meet the boss. In what must look like a comical gesture to onlookers we both reach out one hand to shake and another to pass cdr/tapes/notes to each other.)
Joe: Erotic Jerome is the most focused man in the N-AU. Every twitch and tremor of his hands opened another subtle filter, let out a deceptive synth note or texturised the canvas with his painterly guitar thribbings. Guess what? Watching CDW reminded me of that Keef.
What do you think about when you’re playing?
Asked the handsome young Vee-jay.
I don’t think on stage. I feel,
came the raspy reply. Nuff Said.
Marlo: I had the immense pleasure of being acquainted with Jerome after his stellar set at Tusk Festival. This time, the layers and processing felt more dense. Every time I felt as though I had embraced a new element of his guitar mosaic, I was being introduced to yet another level of intensity that abandoned yet built upon the previous input. It was a rich and powerful piece.
Rob: I got my non-euclidean groove on and shimmied like a tentacle. It was cyclopean. Who would have thought such a nice guy could be an Old One in human form?
(Joe: Later…a fart in front of Elkka Reign Nyoukis makes her laugh so hard it drowns out the nearby trains. Later…it’s a Warhol of confusion. The heat and the noise and the crowd means conversations start, stop, merge and scatter. I’m bending ears all over. Later…The RFM photo op. I never realised our erstwhile photographer was the legendary Idwal himself! Our handsome group is propped up by my screamingly odd face.)
Rob: The evidence! Five sixths of RFM: me, Sof, Luke, Joe, Marlo – Chrissie sadly couldn’t make it as she was recording an orchestra. Cheers to Uncle Mark for taking the picture.
Marlo: As they said in Videodrome (1983),
Long live the New Flesh!
I say this because I felt like Cornford was battling with the mind melting controlling of vertical and horizontal holds, in a telekinetic struggle with amplitude and frequency, he went head-to-head with his multiple television screens. He was absorbed. I was absorbed. I think the visuals that seemed to translate his audio concoctions were pretty. I would love to see more of his work.
Rob: I felt like the little girl in Poltergeist (1982) but I wasn’t communing with the dead, rather a race of electric creatures attempting to re-programme my bonce with strobing logic. They may have succeeded. I await the trigger word from Mr. Cornford.
(Rob: Sof, Sof! Where are you? I think Sof and Jake’s last train beckoned around this point)
Joe: Rich sarcophagus music. Prostrated like a monk with a Casio, Culver played the sound of the tides spiced with deep orange paprika. Ebb and flow washes over you easily for sure but remember Culver’s dark gravity pins you to the planet like a moth in a cabinet.
Luke: whilst Charles Dexter Ward embraced the crowd with his pink love drone in a highly pleasing manner, Culver extended the black tentacles of Cthulu and left us powerless facing the ghastly pit of torment. I am inebriated at this point and only roused from my Culver trance by my pal clinking glasses, it’s a fine moment: we are ridiculously close to the high priest himself. There can be only one.
Marlo: Culver is remarkable in that he uses similar gear and techniques to others whilst adding something completely signature and unique. I would say that Culver is one of the best drone artists in the UK. His monastic and constant involvement with his gear makes for a compelling performance. Despite the darkness that he chooses to invoke with sound, there is a clear joy interspersed amongst the high frequencies.
Rob: I make a mental note of all in the crowd who talk during Lee’s set. There will be a reckoning. A RECKONING!
(Luke: sad to say I had to miss Evil Moisture and Rudolf Eb.Er but I was successful in navigating my way home. Cheers Pete, see you next year!)
Joe: A Very Wonderful Fucking Sloppy Mess (AVWFSM). Long, long loops of disgruntled squirm get run through the Bolus-zone to come out triple-strength odd. With nothing to hold on to the free fall becomes increasing delicious.
Marlo: When watching Andy Bolus, one wishes that they had superpowers like photographic memory or the ability to time travel. The issue is that normal human capacities do not allow for full visual comprehension of the devices across his two tables and to simultaneously be absorbed by the sounds. There is just so much going on! From the crazy inventor’s lab of his set up to the enveloping waves of sound, my body was compelled to move. Pushed up close to the stage with several other victims of unintentional movement, I held onto a monitor to make sure I didn’t collapse from my undulations. These movements are, by far, my favourite response to good noise. His detailed dynamics had a light touch. Well paced yet not predictable in his shifts, Andy seemed to be using his whole body, even his feet to make the monster chewing sounds. But there were purposeful and understated details placed delicately through sound blasts and running engines. Not sonic saturated and definitely not shy, Evil Moisture’s intuitive performance was well worth the wait.
(Rob: at this point I bow out myself and trot off for the second-to-last bus home very happy with how the day has gone. I’m in such a good mood that when I discover the New Blockaders tape Joe gave me earlier is leaking oil onto the other merch in my bag all I do is chuckle. Ahh, occupational hazard.)
Marlo: One of the best things about seeing noise and improvisational music played live is the feeling that what one witnessed is unique and unrepeatable. Experience a performance by a sound artist like Ruldolph Eb.Er, for example, and you know immediately that what you saw and heard will never occur again the same way. In this case, it might be the fact that several Crater Lakers had lost their marbles on booze and kept hollering throughout the set. That was a bit unfortunate but his professionalism didn’t allow one moment of lack of concentration. I use the word ‘dynamic’ a lot when I talk about noise and sound art, often using it to describe movement. However, in this case, Rudolf’s use of tension and silence is signature to his style. Silences punctuated the set and left the audience irritable and anticipating each aural stimulation. Personally, I was enthralled by the spectacle – I felt prone to his ‘psychoaccoustic’ gestures and was dizzy with confusion. My favorite part of his set was when he placed some nodes covered with a black, inky sound conductive substance on his face and head whilst appearing startled and trembling. I like to think he was slightly losing his mind with the audience but by the end he was fully composed and I felt freaking grateful I had stayed cognizant enough to appreciate all the different acts contained within the piece.
Joe: It had been a very long day. Whist I don’t approve of public drunkenness I am charmed by the tipsy. All my notes say is:
good oaky noise but possible Harkonnen spy.
I think it’s about this point that my brain packed up…
…which is an appropriately wonky note on which to end. Alas, that is that for another year. Many thanks to all involved – performers, venue and attendees – with special back-slapping to Pete Cann for making it happen. It was a terrific day. See y’all next time.
Agata Urbaniak: performers
Sophie Cooper: workshop
Mark Wharton: Team RFM