Tags: amateur shoegaze, cam, constellation tatsu, crow versus crow, dictaphonics, emblems of cosmic disorder, feedback, grey guides, improvisation, joe murray, karl mv waugh, noise, skrat records, slayer, stuart chalmers, tape loops
Stuart Chalmers – In the Heart of Solitude (Constellation Tatsu)
Karl M V Waugh – Future Glows (Emblems of Cosmic Disorder)
Grey Guides – Beast Mask Supremacist (Crow versus Crow)
CAM – Mirror Confrontations (Skrat Records)
Stuart Chalmers – In the Heart of Solitude (Constellation Tatsu) cassette and Bandcamp download
Don’t know if it’s just me but this appears to be the perfect winter cassette of glum collisions. Imagine bad thoughts reverberating inside your skull; the sounds bounce and amplify and leave a sooty fingerprint. You shake your head but the dust remains however low and mellow the sun.
Regular readers will know Stuart manipulates tapes and tape loops with a sparse pedal set-up, mighty fists, secret knowledge and magical skill. But this time it’s not just the loopology that takes the starring role, it’s the singular tape content that snaps like an arrowroot biscuit.
Here Stuart uses Indian Swarmandal tapes pretty much exclusively for his palette adding a layer of glittering resonance and magnetic space to each gentle track.
The dulcimer-like tones vibrate and twang, sour as brass but with an unmistakable air of mystery. “Just what is behind those beaded curtains?” They seem to whisper, while a be-jewelled finger beckons you through a hidden door into a room heavy with musk.
I’m transported (can’t you tell?) but you need facts eh reader? The killer stand-out, the magnum opus has to be ‘reflection’. It shimmers like a Bagpuss episode viewed through sepia-specs. It builds slowly and metallically, fine interlocking coils spiralling ever tighter and tighter until sonic shrapnel bursts rudely from the shell.
There’s a slight panic, a speeding edge that propels each track into momentary discomfort. And it’s that intersection between mystic enlightenment and dangerous toppling that makes me come back again and again to this wonderful little tape.
OH YEAH…While we’re talking I’ve got to give an honourable mention to Tlon a fruity collaboration between Stuart Chalmers (cassette/pedals) and Liam McConaghy (synths). It’s now sold out in this realm but available for all you millennials on digital (e.g. not really there) editions. It’s boss alright but gone, gone, gone.
Karl M V Waugh – Future Glows (Emblems of Cosmic Disorder) Cassette and Bandcamp Download
Ultra atmospheric, lichen creeping from the South Coast’s very only K M V Waugh.
Lengthy opener ‘Fire snow (i), fire snow (ii), fresh grow’ stretches out as slow as bone growth. It starts slow and ends slow yet visits several distinct intervals on the journey: Meredith Monk on the Woodbines, bummed Didgeridoo guffs and the Electric Spanking (of war babies?).
Things grow darker on the even lengthier ‘Future glow (ii), final gravity’ that matches John Carpenter’s percussive judders over Space Odyssey’s floating-backwards-through-the-monolith-with-rainbow-brite-whurrrring . The disembodied voice offers no comfort.
Designed for the sort of snitchy mediation we can expect in today’s topsy-turvy world.
A statement? Perhaps. A coping mechanism? Very much so.
Plug in and remain alert!
Grey Guides – Beast Mask Supremacist (Crow versus Crow) Tape and bandcamp download
Encased in a top-notch Andy Wild photo-collage-art-piece (slate grey of course) this tape just fucking drips quality.
The Grey Guides hail from Morley outta Leeds and concentrate that satellite town dislocation that those city slickers just can’t replicate. The exquisite weirdness of the suburbs runs through this tape like mould in a stinky cheese.
The instrumentation is sparse. A gentle roaring (sounding rather like The Cramp’s Poison Ivy practising over in the next parish) becomes a backdrop over which indistinct keys, fetid tape grot and soft Dictaphone squelches hover on opener ‘One Eye Lower Than the Other’
The next two tracks, ‘Millipede in a Doll’s House’ and ‘Mushroom Heads are Turning’ are surely designed to spook; they come across like a Yorkshire Dead C with their sound-on-sound fullness, their squished-sonic wrongness. Black reverb ripples across backmasked guitar and throb in a fair approximation of a tape player actually throwing up; brown ribbons spiralling out, collecting in sticky ferric pools. It all ends in a grim repetition which baffles against broken ancient machinery. A woven howl (now sounding like a 16th generation tape of Kerry King’s amp fizz) smears as Gerhard Richter, using only charcoal tones and coal dust, comes up with his next masterpiece.
‘Just Burned Down a Care Home’ starts with some s-w-e-e-t tape-juggling, thumb on the soft pause squealing out fractured speech while that dude out the Cocteau Twins wonders why all his pedals now sound like elephant seals huffing petrol fumes.
Massed tape séance-traps are forced open on ‘Van Hoogstraten’s Big Pay Back: Gorton Poltergeist Revisited’ leaking thick magnetic ectoplasm with a “whurrr, whhorrr, whurrrr” rattling like an unsteady wind. It’s heady like good brandy.
Several ghostly interruptions later we happen upon the rarest of beasts, a No-Audience Underground cover version of a real-live tune (x2). The Grey Guides join the dots, reversed of course, between The Can and The Fall from a barely perceptible start; the faintest of pulses through to a garage-rock-recorded-through-codeine-infused-marshmallow finale.
I finally collapse to the unruly jaxx of ‘The Unlovely Acolyte Anointed at Last’ – Sidney Bechet clarinet played on Satan’s mouthparts and wonder. “Is this what passes for entertainment in Morley right now? “
Yeah it is?
Book me on the Mega bus boys…I’m coming down to jam!
These long-timers, Denmark’s enigmatic CAM, share six electronic improvisations with us on this classy vinyl offering.
It’s a noble three-piece set-up with Claus Poulsen, Anders Borup and Mads Bech Paluszewski-Hau on an encyclopaedic array of tapes, synth, processing, objects, things, toys, electronics and improbable occult practices.
Keen RFM-spotters will recognise the name Claus Poulsen from his work with Star Turbine (a duo with Sindre Bjerga – on tour in the UK late Feb/early March) but this is a very different animal to their ion-drive grit. CAM specialise in fast-moving tripod dialogue, texture and split-tooth wrangles ya’ hear.
The spirit of Northern Europe Improv is strong with strains of cold-dark hiss, low-frequency gloop and singular vocal hummings woven together in pan of steaming mind-think.
The six tracks on this el-pee make these impressions on my Swiss-cheese mind.
- Squiffy beats ba-da-bump like Saaaaalllllt n’ Peppppper over a humpin’ vox (heavy on a delay). Snatches of field-recorded atmosphere are tucked up nice with an analogue-warm wave; reverse-hissing seems to be become a new Olympic discipline as breath gets sucked out a puckered pair of lips.
- More moaning: a creaky bridge caught up in high wind. The cables sing sorrow in a thousand different voices. The damp thump of workboots crossing the swollen planks adds a steady beat. But what’s that I hear? The dreams of the factory workers hoping for sunnier Spring days.
- Uncertain hymns via Robert Wyatt’s fractured, dust-dry larynx. There’s a real Rockbottom vibe with that watery keyboard (a gift from Julie Christie) lapping gently at your stubby toes. The oyster grit comes in the form of treble-heavy child chatter and bubbling electronic slime.
- Primary tones/chalk sliding over wet slate/Babbit-bobble/wrenched petroleum
- Confrontations in the afternoon, seeping prose and dramatic static ripples – don’t go chasing waterfalls.
- Mind-over-matter becomes a group practice. Three individual voices hum the theme from ‘The Bridge’ in different timezones, accents and languages so voice two arrives before voice one and voice three has an acidic hangover. Deep as an oil well and twice as sticky.
OK Travellers…a reliable signpost might say Supersilent but I reckon these dudes are looser and, without doubt, DIY to the core.