A man argues that the year 2000 is now officially retro. It being 17, 18 years ago - which is almost two decades, and 20 Years being the traditional cyclical point at which things get revived or start to seem quaint.
What he (Matt Novak) specifically means, though, is that the year's 2000's ideas of "futuristic" now seem retro-futuristic. (The site he's writing for is Paleofuture, which is all about retrofuture).
I don't remember that much actual futurism or futuristic-ness in 2000. Although it's a year that seems indistinct in my memory... I'd have to strain to actual recall what was big or happening in music, or pop culture that year.
(Strains for a bit)
2step in the UK was still dominating the Top 40 in 2000... the Timbaland R&B wave, although peaked, was still rolling... dancehall... Southern rap in the bounce and crunk style... All of them pretty shiny and modern, yes, but futuristic? I'm not sure. If it was futuristic it was pretty much a continuation of the Nineties vibe of future-now, shiny digital sleekness).
But there was also - in the early 2000s - a lot of actual retro happening in real-time. There was the garage punk revival, the electro / Eighties revival was taking off, there was the early stirrings of the postpunk revival, Even filter-house and Daft Punk had its nostalgic, past-recycling aspect.
So it's not really the case that 2000 that has become retro; it's more that it was the beginning of the retromania era that was the Noughties.
Tuesday, December 19, 2017
Wednesday, November 29, 2017
Hauntology Parish Newsletter - Christmas: Moon Wiring Club
Often when a recording artist reaches that point where it feels fitting to release a
best-of / greatest-hits - or a career-spanning commemorative archival anthology - it seems to signal (or even, in some obscure fashion, precipitate) the end of their musical journey. A silence ensues. Perhaps followed, after a long interval, by a wan comeback. Perhaps followed by nothing at all.
In Mr. Hodgson's case, he has not only returned punctually, at his usual time of year, but he has come back stronger than ever, with a triple-dollop of some of Moon Wiring Club's best work yet: the double-CD Tantalising Mews and the vinyl long-player Cateared Chocolatiers.
Noteworthy is the attractive new-look packaging for Tantalising Mews: a cardboard gatefold, with no information on the front, back or inside (indeed the release only identifies itself on the spine).
In a pouch lurks a fold-out insert that supplies the titles of the thirty-three - thirty-three! - tracks on the pair of discs, and hints at the narrative framework that links them: "wireless telegraphy - from the immaculate ghost of an identical ancestor". Perhaps informed here by the analogy that 19th Century spiritualists saw between remote communication with the dead and the recently invented telegraph?
Cateared Chocolatiers contains - in the form of a brightly coloured fold-out poster - the board to a game that involves "a journey through a rococo town of rolled-up carpets and crumbling toffee buildings in order to catch a train from a weird rural station you know you’re going to miss." The boardgame can be played by following the rules printed on one side of the disc's intricately illustrated dust jacket and by consulting the cast of characters arrayed and described on the other side.
Noteworthy also: the sounds. "Ghostly drifting molten landscape musicke" is how Blank Workshop characterise the contents of Chocolatiers. And indeed that album especially, but all three of the discs, push the ambient-leaning tendencies in previous Moon Wiring Club music to a new extreme of ectoplasmic exquisiteness and sickly malaise. Beats, barely mustering the will to manifest, are decrepit and ineffectual entitities, rarely cohering into a pulse, let alone a groove. Voices droop and decompose, releasing vapours that fog the brain and obnubilate concentration. The mind wanders into mist-shrouded, boggy terrain, mistakes marshy phosphors for beacons, gets lost, founders.
It's a true return to formlessness.
Thursday, November 9, 2017
Hauntology Parish Newsletter - November - Further #2, The Belbury Circle
Further returns on November 18th, with an evening of ghostadelic entertainment at the Portico Gallery in West Norwood, London.
Press release:
Press release:
DJ Food & Pete Williams present the second of their immersive audio visual evenings at the Portico Gallery, London. Live music from Simon James and a not to be missed A/V set from Sculpture. Get lost in Further's multi projector light and sound show. Food, drink, a record stall from The Book and Record Bar plus plenty of seating.
Programme:
7.30 - 8.30: Doors open, there will be a record stall with stock picked to compliment the evening by Micheal Johnson from the nearby Book & Record Bar and delicious local food served alongside the fully licensed Portico bar stocked with local beers and ales.
8.30 - 9.15: Simon James - former Simonsound and Black Channels member and one of the foremost exponents in today's modular electronics scene - plays a rare live set with his Buchla 200e Electric Music Box.
10.00 - 10.45: Sculpture bring their incredible live show to West Norwood via Dan Hayhurst's tape loops and electronics and Rueben Sutherland's zoetrope turntable visuals
8.30 - 9.15: Simon James - former Simonsound and Black Channels member and one of the foremost exponents in today's modular electronics scene - plays a rare live set with his Buchla 200e Electric Music Box.
10.00 - 10.45: Sculpture bring their incredible live show to West Norwood via Dan Hayhurst's tape loops and electronics and Rueben Sutherland's zoetrope turntable visuals
10.45 - 12.00: DJ Food & Pete Williams (Further) will open and close the evening with their multi-projection Light & Sound Designs.
Tickets available here
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Ghost Box have a new release - Outward Journeys, a first and fine full-length from The Belbury Circle - that is to say, Jim Jupp of Belbury Poly + Jon Brooks of The Advisory Circle- featuring once again contributions from John Foxx on two songs, in the form of vocals and synths. Dig also the new style design from Julian House which has the air of Omni about it maybe...
Thursday, October 26, 2017
"I will always be there for you" - the ghost of rave / the ghost of socialism
Here's an essay I did for Pitchfork about Burial's Untrue ten years on.
It's also effectively a tribute to Mark Fisher, who is a recurring presence in the piece.
It's intentional that Burial's real name is never once mentioned in the piece - honoring his original allegiance to rave's radical facelessness and anonymous collectivity.
Below is my favorite out of the post-Untrue Burial output - in some ways the missing chapter from that album.
There were two parallels and precursors for Burial's ghost-of-rave (as ghost-of-socialism) aesthetic that I couldn't get into as it would have been too much of a digression.
The first: Mark Leckey's Fiorucci Made Me Hardcore, which I wrote about here.
And the second: "Weak Become Heroes" by The Streets.
What Burial related through samples and moody orchestrations, Mike Skinner conveyed with words, describing the flashback of a former raver abruptly set adrift on blissed memories of love and unity on the dancefloor. “All the commotion becomes floating emotions... They could settle wars with this... Imagine the world's leaders on pills... All of Life's problems I just shake off.” Then he's snapped back to the dreary streets of a hostile and hopeless 21st Century England: “gray concrete and deadbeats... no surprises no treats... My life's been up and down since I walked from that crowd.” “Weak,” in Skinner’s song, means not just personally frail, but politically powerless. The weak became heroes when they became a mass, uniting around the unwritten manifesto in the music: someday there’ll be a better way, but in the meantime let’s shelter for a while in this dreamspace. What the critic Richard Smith (like dear Mark also “late” now – so many ghosts these days) called “the communism of the emotions” triggered by Ecstasy seemed to prefigure a social movement. But the collective energy never got beyond the level of a pre-political potential; the moment dissipated.
Actually there's a third parallel/precursor - The Death of Rave by V/Vm, a/k/a The Caretaker - another of Mark's favorites of course...
This post is dedicated to Carl Neville.
It's also effectively a tribute to Mark Fisher, who is a recurring presence in the piece.
It's intentional that Burial's real name is never once mentioned in the piece - honoring his original allegiance to rave's radical facelessness and anonymous collectivity.
Below is my favorite out of the post-Untrue Burial output - in some ways the missing chapter from that album.
There were two parallels and precursors for Burial's ghost-of-rave (as ghost-of-socialism) aesthetic that I couldn't get into as it would have been too much of a digression.
The first: Mark Leckey's Fiorucci Made Me Hardcore, which I wrote about here.
And the second: "Weak Become Heroes" by The Streets.
What Burial related through samples and moody orchestrations, Mike Skinner conveyed with words, describing the flashback of a former raver abruptly set adrift on blissed memories of love and unity on the dancefloor. “All the commotion becomes floating emotions... They could settle wars with this... Imagine the world's leaders on pills... All of Life's problems I just shake off.” Then he's snapped back to the dreary streets of a hostile and hopeless 21st Century England: “gray concrete and deadbeats... no surprises no treats... My life's been up and down since I walked from that crowd.” “Weak,” in Skinner’s song, means not just personally frail, but politically powerless. The weak became heroes when they became a mass, uniting around the unwritten manifesto in the music: someday there’ll be a better way, but in the meantime let’s shelter for a while in this dreamspace. What the critic Richard Smith (like dear Mark also “late” now – so many ghosts these days) called “the communism of the emotions” triggered by Ecstasy seemed to prefigure a social movement. But the collective energy never got beyond the level of a pre-political potential; the moment dissipated.
“I love those hardcore and rave tunes because they sound deep, hopeful, for the times, and the people... It’s unbelievable, that glow in the tunes, it almost breaks your heart.” - Burial, someplace, sometime
"The tunes I loved the most…old jungle, rave and hardcore, sounded hopeful.... All those lost producers…I love them, but it’s not a retro thing… When I listen to an old tune it doesn’t make me think ‘I’m looking back, listening to another era.’ Some of those tunes are sad because they sounded like the future back then and no one noticed. They still sound future to me." - Burial, someplace, sometime
In a way, it's a shame Burial stopped doing the interviews - he was almost born to do them, even more than make music! He's better at describing his own music and motives than any of his critics, except Mark Fisher himself. I remember Mark telling me after he'd done the interview that he couldn't believe his own ears - the stuff that Burial was coming out with was so poetic and evocative, too good to be true almost. A dream of an interview. Anwen Crawford told me of a similar experience: as I recall it, it was like she was hypnotized, sent into a trance by his voice over the phone. But at same time he was completely real and genuine - somehow down to earth and an ethereal being floating out there at the same time.
"I wanted the tunes to be anti-bullying tunes that could maybe help someone to believe in themselves, to not be afraid, and to not give up, and to know that someone out there cares and is looking out for them. So it's like an angel's spell to protect them against the unkind people, the dark times, and the self-doubts" - Burial on Rival Dealer EP / "Come Down With Us"
In a way, it's a shame Burial stopped doing the interviews - he was almost born to do them, even more than make music! He's better at describing his own music and motives than any of his critics, except Mark Fisher himself. I remember Mark telling me after he'd done the interview that he couldn't believe his own ears - the stuff that Burial was coming out with was so poetic and evocative, too good to be true almost. A dream of an interview. Anwen Crawford told me of a similar experience: as I recall it, it was like she was hypnotized, sent into a trance by his voice over the phone. But at same time he was completely real and genuine - somehow down to earth and an ethereal being floating out there at the same time.
This post is dedicated to Carl Neville.
Saturday, September 30, 2017
el futuro perdido latinoamericano
One of the highlights of my recent book tour of Argentina was a visit to an exhibition dedicated to the early days of electronica and la música concreta in that country.
Klang is showing at Centro Cultural Kirchner, or CCK - a vast building in Buenos Aires that was once Argentina's central post office, and later was where Eva Perón based her fundación.
Klang curator Laura Novoa kindly gave me a guided tour of the exhibition. And of the the building itself, among whose features is La Gran Lámpara - a glowing glass-sided construction seemingly suspended in the air - it's situated in this central voluminous shaft of space that goes from the roof to the ground floor - and inside of which are two exhibitions halls.
Argentina was heavily involved in electronic and tape music experimentation from early on in the music's history. It had strong links with similarly minded composers throughout Latin America. Some, such as Peruvian composers César Bolaños and Edgar Valcárcel came to work in Argentina for a period.
Conversely, Argentine pioneers like Edgardo Canton, Beatriz Ferreyra and Horacio Vaggione would move to France to continue their explorations at GRM (Groupe de Recherches Musicales).
Another important avant-garde emigre was Mauricio Kagel, who moved to Cologne, while the Argentina-born Mario Davidovsky went to work at the Columbia-Princeton Electronic Music Center.
The exhibition's span goes from the earliest forays into tape music and electronics made by Argentine composers like Francisco Kröpfl....
... through the work done at of El Estudio de Fonologia Musical (founded by Kropfl) c/o Universidad de Buenos Aires
... then onto the wonderfully 1960s-in-vibe sound design / graphic design developed by the advertising agency Agens, as part of an integrated corporate identity project for the manufacturers SIAM Di Tella
... before winding up with CLAEM aka el Centro Latinoamericano de Altos Estudios Musicales, the most advanced electronic music laboratory in South America thanks largely to the innovations of fellow called Fernando von Reichenbach.
Klang curator Laura Novoa kindly gave me a guided tour of the exhibition. And of the the building itself, among whose features is La Gran Lámpara - a glowing glass-sided construction seemingly suspended in the air - it's situated in this central voluminous shaft of space that goes from the roof to the ground floor - and inside of which are two exhibitions halls.
Another important avant-garde emigre was Mauricio Kagel, who moved to Cologne, while the Argentina-born Mario Davidovsky went to work at the Columbia-Princeton Electronic Music Center.
The exhibition's span goes from the earliest forays into tape music and electronics made by Argentine composers like Francisco Kröpfl....
... then onto the wonderfully 1960s-in-vibe sound design / graphic design developed by the advertising agency Agens, as part of an integrated corporate identity project for the manufacturers SIAM Di Tella
... before winding up with CLAEM aka el Centro Latinoamericano de Altos Estudios Musicales, the most advanced electronic music laboratory in South America thanks largely to the innovations of fellow called Fernando von Reichenbach.
As well as the main room with its timeline and walk-in sound-booths with hyper-spatialized audio and often equally disorienting visuals, there is a separate room displaying a variety of early synthesisers and sound-generating contraptions, scores, and documentary footage on loop.
Muchas gracias to Laura for a fascinating time travel trip to el futuro perdido latinoamericano!
For further information about Argentinan and Latin American electronic music, check out this essay by Ricardo Dal Farra. It comes with an enormous playlist of compositions which I have so far only managed to get about one-fifth of the way through - revelatory stuff.
Muchas gracias to Laura for a fascinating time travel trip to el futuro perdido latinoamericano!
For further information about Argentinan and Latin American electronic music, check out this essay by Ricardo Dal Farra. It comes with an enormous playlist of compositions which I have so far only managed to get about one-fifth of the way through - revelatory stuff.
Tuesday, September 26, 2017
"Once electronic instruments suggested an exciting, uncharted future. Now they represent a longing for a nostalgic past that did never exist"
"The future of 2017: a cheaper, smaller, unified version of yesterday. The D-50 was awesome and still is, but if re-releasing a D-50 and adding a generic step sequencer represents the vision of contemporary electronic music creation, something very essential got lost on the way. Once electronic instruments suggested an exciting, uncharted future. Now they represent a longing for a nostalgic past that did never exist" - Robert Henke, recently
paging people who working with electronic music-making hardware / software - is this remark, made by one who seems like he ought to know what he's talking about, true in your experience?
Monday, June 26, 2017
Retrotopia
Andrew Gallix in the Irish Times reviews Retrotopia
, the final book by Zygmunt Bauman (RIP)
"The sociologist had long argued that a loss of faith in society’s perfectibility was one of the main distinctions between the “solid” and “liquid” phases of modernity, a theme that he reprises and expands on here. His argument hinges on the “emancipation of power from territory”, as a result of which nation states, with increasingly “porous” borders, are no longer able to fulfil their traditional functions. This political impotence, compounded by the stupefying pace of change, has redirected the utopian impulse towards the “space of collective memory”. We take refuge in the past because it can be “remodelled at will”, thus providing the “blissful omnipotence lost in the present”.
The future is now associated not with progress but with stasis or regression. At best it seems to offer more of the same; at worst it holds out the prospect of “social degradation” and “impending catastrophe”. Hence the privatisation of happiness, sought no longer through collective endeavours but through self-improvement and personal “wellness”
.... Social in name only, our online networks offer another ersatz brand of communality, acting as they do as filter bubbles, providing insulation from any views likely to challenge our easily bruised egos. Such comfort zones are “as close to the nirvana of the womb” as we can get. Indeed, a return to the safety of the womb is the logical conclusion of a series of reactionary trends taking us back to a world of “weakening human bonds”, tribalism and growing inequalities – a Hobbesian “war of all against all”.
... Bauman suggests that retrotopianism is largely due to our failure to develop a cosmopolitan consciousness, despite living in a cosmopolitan world."
I deployed Bauman's liqud modernity versus solid modernity dichotomy in this piece on David Toop, for which I read two or three of ZB's books (he was incredibly prolific). Found them really interesting but a little fixated - he was a bit like the Status Quo or ZZ Top of social theory.
Gallix's identifications of ZB's several flaws seems right on the money - the repetitiousness, windy language, generalisations.
Monday, May 8, 2017
Hauntology Parish Newsletter, May 2017 : Further at the Portico Gallery, South London, this Saturday; ToiToiToi; The Focus Group; IX Tab; Radionics Radio; Portland Vows; The Heartwood Institute; "folk horror".
News of an exciting gathering in London this weekend. Organised by DJ Food & Pete Williams, Further takes place at a former theatre turned community centre in West Norwood (my old parish in the mid-Eighties, it so happens). Featured artists include Ghost Box's Jupp & House doing an audio-visual set and Howlround live sound-tracking the film A Creak In Time by Steven McInerney of Psyché Tropes.
A Creak In Time Trailer from psyché tropes on Vimeo.
Says DJ Food a/k/a Kevin Foakes, the concept is neither a club nor a film night, but "somewhere in between... where the visual is as important as the musical."
Date: Saturday May 6th
Location: Portico Gallery, 23B Knight's Hill, London, SE27 0HS,
Price: £7.55
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Talking of Ghost Box, the label has a really cool new release out by a name completely unfamilar to me - ToiToiToi. Who turns out to be a German fellow (a first for the label, I believe... Indeed I wonder if they've ever put out anything by someone who wasn't British?). Appropriately they use the term "wunderkammer" - German for cabinet of curiosities - to describe Im Hag. Which seems bang-on, for the previous Ghost Box release it reminds me of a tiny bit is The Transactional Dharma of Roj - which itself very much felt like a cabinet of ungainly marvels... queer little audio-contraptions whose design and purpose was unclear but that nonetheless entranced the ear.
I also think sometimes of Mouse On Mars's buoyant and airy dinkytronica
Release Rationale:
Im Hag is the debut Ghost Box album for Berlin based Sebastian Counts’ ToiToiToi, following on from his single for the label’s Other Voices series in 2015. It’s very detailed and lovingly produced music, crafted from electronic, synth, sampled and acoustic sources. Its a wunderkammer of an album crammed with original ideas. All at once managing to be witty, spooky, melodic and abstract.
The music and design explores the polarities of folklore vs modernity, and wilderness vs civilization. It’s an album about German culture but it pre-empts a nostalgia for the vanishing concept of internationalism, once exemplified by town twinning. It’s also a warm-hearted record, hopefully a tiny morale booster against Europe’s resurgent spectres.
It's the best thing Ghost Box have put out for a while I think .... although it may not be for long, judging by the preview I've been permitted of the forthcoming and splendid album by The Focus Group - possibly Julian H's best since hey let loose your love.
This reminded me of my remissness in forgetting to mention in the last newsletter the excellent debut album by Children of Alice - the ghosty supergroop comprising House, Roj, and Broadcast's James Cargill. I was supposed to be writing a feature on them, but owing to elusive obstacles that still mystify, this came undone. A classic of the ungenre, nonetheless, so don't miss it.
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A soul-sister to Focus Group in some respects, but less twitchy with detail, IX Tab's The World Is Not Where We Are (due June 1st via Twiggwytch Recordings) is another fab excursion of dronescape-gardening and abstract-leaning bucolictronica... finding the (un)common hinterland between Laurie Lee and Luc Ferrari.... And hark at those mind's-eye-activating titles: "The Orchard Dream", "Meeting in a Roofless Church", "The Smoke and The Birds", "The Tired Synths"...
Release rationale:
"The World Is Not Where We Are completes a trilogy of IX Tab albums and, while clearly cut from the same dirty cloth as Spindle & The Bregnut Tree and R.O.C, it is something of a departure in that, this time around, there is manifestly an acceptance of the feminine into the harte of the wud. The World Is Not Where We Are is moon-driven and burnished in silver. It’s anima(listic) and tidal, altogether more graceful in it’s movements.
This time around, IX Tab features Eli Murray aka Gentleforce and Joan Pope of The Whip Angels, two collaborators from across the seas who instinctively understood the ritualistic nature of IX Tab and the strong sense of place. Gentleforce released arguably the best ambient album of 2016 in Refuge From The Great Sadness, while Joan Pope’s audio-visual sex cult, sexdeathrebirth, is in the process of taking all the worlds by storm.
Other things have remained the same: old energies pushed in new directions. Lyrics by Kant by way of the Noumenal; songs by W.B. Yeats and Colette; atmospheres and sex magick exercises from Israel Regardie and Pope Joan; drones made from creaking swings and squeaking munkins; folk dirges and shotgun fire; wassails & poetic re-imaginings of lost causes. We know it’s an increasingly unpopular opinion, but we don’t believe that any music speaks for itself.
As ever, the IX Tab universe spills out into a 16-page full colour booklet bursting at the seams with esoteric ephemera, loose psycho-geographical details, lyrical shards, totems and potentially libelous slurs against 18th C portrait artists."
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A soul-sister to Focus Group in some respects, but less twitchy with detail, IX Tab's The World Is Not Where We Are (due June 1st via Twiggwytch Recordings) is another fab excursion of dronescape-gardening and abstract-leaning bucolictronica... finding the (un)common hinterland between Laurie Lee and Luc Ferrari.... And hark at those mind's-eye-activating titles: "The Orchard Dream", "Meeting in a Roofless Church", "The Smoke and The Birds", "The Tired Synths"...
Release rationale:
"The World Is Not Where We Are completes a trilogy of IX Tab albums and, while clearly cut from the same dirty cloth as Spindle & The Bregnut Tree and R.O.C, it is something of a departure in that, this time around, there is manifestly an acceptance of the feminine into the harte of the wud. The World Is Not Where We Are is moon-driven and burnished in silver. It’s anima(listic) and tidal, altogether more graceful in it’s movements.
This time around, IX Tab features Eli Murray aka Gentleforce and Joan Pope of The Whip Angels, two collaborators from across the seas who instinctively understood the ritualistic nature of IX Tab and the strong sense of place. Gentleforce released arguably the best ambient album of 2016 in Refuge From The Great Sadness, while Joan Pope’s audio-visual sex cult, sexdeathrebirth, is in the process of taking all the worlds by storm.
Other things have remained the same: old energies pushed in new directions. Lyrics by Kant by way of the Noumenal; songs by W.B. Yeats and Colette; atmospheres and sex magick exercises from Israel Regardie and Pope Joan; drones made from creaking swings and squeaking munkins; folk dirges and shotgun fire; wassails & poetic re-imaginings of lost causes. We know it’s an increasingly unpopular opinion, but we don’t believe that any music speaks for itself.
As ever, the IX Tab universe spills out into a 16-page full colour booklet bursting at the seams with esoteric ephemera, loose psycho-geographical details, lyrical shards, totems and potentially libelous slurs against 18th C portrait artists."
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Three other projects of reasonably recent vintage:
Released on SubRosa, Radionics Radio: An Album of Musical Thought Frequencies is a project created by composer / researcher / instrument builder / sonic contemplator Daniel R. Wilson, who informs me that the album "employs a technique theorised by Delawarr Labs that promises a brand new way of making music: by (supposedly) embedding 'thoughts' or 'moods' within the electronic musical tunings". On pieces like "Heal Chakras" and "Wonderful Feelin" the process generates slowly gyrating planes of drone that put me in mind of Nurse With Wound's Soliloquy for Lilith, but other tracks are more eventful and internally varied excursions in the quirktronic mode.
Advert and mini-documentary on the project below, while a full-blown release-rationale can be found at Wilson's Miraculous Agitations blog.
Word also reaches me of a newish album from Concrète Tapes - Play Nicely by Portland Vows, a pleasing set of electronic sketches and mood-vapors.
Also fresh to the parish: The Heartwood Institute, an apple-cheeked nephew to the gnarly-thumbed wood-whittler of an uncle that is Belbury Poly - at least judging by this album Mix Tape One.
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That Heartwood Institute cover image - so redolent of the maypole scene from The Wicker Man - reminded me that I was chatting over the fence with parish elder Ian Hodgson the other morn...
Ian remarked how much "‘auntology by any other name" stuff was going on at the moment, pointing to the book Scarred For Life Volume One by Stephen Brotherstone and Dave Lawrence, which is blurbed as "an affectionate look at the darker side of pop culture in the 1970s. Public information films, scary kids' TV show, bleak adult dramas, dystopian sci-fi, savage horror films, violent comics, horror-themed toys and sweets and the huge boom in paranormal paraphernalia; all this and much more is covered in depth. Prepare to relive your childhood nightmares. The things that made us... Scarred For Life!".
He also pointed to the imminent Fortean Times feature "Haunted Generation: The Analogue Nightmare of a 70s Childhood" (for which I was interrogated, as it happens).
Much of the by-another-name activity hides under the another-name "folk horror", as elaborated here in a Guardian article and in a recently-published book by Adam Scovell, Folk Horror: Hours Dreadful and Things Strange.
And then published this very day: Louis Pattison's Bandcamp listening-guide to artists working in the F-H genre, including various outfits on the Reverb Worship label such as this "spookfolk" group The Hare and the Moon.
This comes with a fictitious-TV series mise-en-scene that raises a chuckle:
A five-part ITV children’s drama originally transmitted over the summer of 1972 and produced by Harlech Television based in Wales. Set in a village outside Hereford the story follows the preparations for the annual Wakes event but dark forces are unleashed when the organisers decide to build a ‘Witch’s Hat’ ride on an ancient burial mound. Roy Kinnear plays Mayor Hamilton who wants the Wakes event to go ahead in spite of warnings from local newspaper reporter Jane Meadows (Elisabeth Sladen). Also attempting to avert disaster are young white witch Heddwen (Camila Vargas) and visiting archaeologist Robbie Duggan (Iain Tranter). The series' obscurity is explained by the fact that a Welsh Nationalist transmission engineer deliberately confined the broadcast of the programme to Wales, failing to perform the switch required and thus enabling the Welsh language programme ‘Ffalabalam’ to be shown on the nationwide ITV network whilst ‘Hereford Wakes’ was shown only in Wales. A combination of luck and coincidence led to us being able to contact a relative of the composer and so we're delighted to present the music from Hereford Wakes for the first time.
Hereford Wakes (1972) from Rachel Laine on Vimeo.
During the piece Pattison mentions this handy survey of the landscape at the site Folk Horror Revival by Andy Paciorek.
It all feels a bit terra cognita (terror cognita, even!)... a distinctly compact patch of British film and TV history (as Ian observed - Wicker Man, Blood on Satan's Claw, Witchfinder General - Penda's Fen and Robin Redbreast - Children of the Stones - some PIFs) now trampled frisson-less after successive waves of visitors...
That feeling of deja deja vu exacerbated by the news that English Heretic are soon to release their fourteenth record Wish You Were Heretic, which contains a sampled snatch of the folk ditty "Bushes and Briars", soundbites from Robin Redbreast, narration of Houseman's "On the Idle Hill of Summer"...
Round and round and round we go, big kids prancing endlessly around the memory maypole...
’
RIP Erkki Kurenniemi
One thing I was really pleased to squeeze into Retromania was a side-bar on Erkki Kurenniemi - the Finnish futurist polymath who, from the 1960s onward, involved himself in a bizarrely broad gamut of experimental electronic endeavour: computers, robotics, experimental film, electronic music, and much more. My interest was sparked by Mika Taanila's Kurenniemi documentary The Future Is Not What It Used To Be.
Then a few years after the book came out - a few years ago - a trip I took to Finland happened to coincide with a retrospective exhibition of Kurenniemi's work in multiple media being staged at a big Helsinki art museum. I stumbled on it quite by accident, wandering through the city in the snow.
Now the news comes through that not only is the future not what it used to be, but neither is Kurenniemi. For he has passed to the other side.
Much of the fascination of Taanila's documentary concerns Kurenniemi's obsession with ensuring his own immortality, through meticulous self-archiving. He believed that some near-future stage of human civilisation would be so supremely powerful in terms of technology - but, immortal themselves, so utterly bored out of their minds too - that they'd fill their empty time with the reconstitution of humanity from previous eras. With that prospect in mind, the bigger the spoor of data you could leave behind - Kurenniemi thought - the better that resurrection would go.
Guess we'll have to wait and see how that pans out.
Here,
tweaked only slightly, is the side-bar from Retromania:
... Imagine a Finnish hybrid of Stockhausen, Buckminster Fuller and Steve Jobs--who from the 1960s onwards was a pioneer in electronic music, computing, industrial robotics, instrument invention, and multimedia. Short of presiding over Finland's space programme, he was involved in every aspect of the Future. Rediscovered and championed by the Finnish techno outfit Pan Sonic, Kurenniemi's clangorous bleepscapes such as "Electronics In the World of Tomorrow" (1964) compare favorably with the avant-classical creations emanating from Paris and Cologne during that time. He was also something of a techno-prophet, talking in the voice-over to 1966's "Computer Music" about how "in the 21st Century people and computers will begin to merge into hyperpersonas. It will be hard to say where man ends and machine begins."
The documentary-- made by director Mika Taanila.... also looks at what became of Kurenniemi in the twilight of his career. Grey-bearded and careworn, the aging innovator spends most of his time documenting himself. He takes 20 thousand pictures a year, which are carefully touched-up and filed on his computer. He inputs "cassette diaries" he made during the Seventies and records new ones detailing the minutiae of his existence, like the good steak he enjoyed courtesy of a friend.
Why? Kurenniemi believes that medical advances will virtually eliminate mortality in the not-too-distant future. "Mine is probably the last generation of mortals". 200 years from now, when the greater part of humanity lives off-world, in the asteroids or orbital zones, while the Earth is "a museum planet", he believes that the indolent immortals, confronted by "100, 000 years of uneventful life" and "with nothing else to do but study old archives", may be "genuinely interested in reconstructing the 20th and 21st centuries."
Kurenniemi's "manic registration" of every trivial detail of his life is intended to provide the "core material" for this resurrection project. In the near-future, it will be possible to do "brain back ups", to download consciousness and personality into a computer. But Kurenniemi can't count on lasting that long. So, he advises, "we just have to keep every tram ticket and sales slip, and write down or record all our thoughts." Video would make for a better imprint of his consciousness, a document of the world seen through his eyes, but it's impractical; the still snapshots will at least provide a "jerky account". He plans on doubling his current rate of 100 pictures a day.
Kurenniemi's "manic registration" of every trivial detail of his life is intended to provide the "core material" for this resurrection project. In the near-future, it will be possible to do "brain back ups", to download consciousness and personality into a computer. But Kurenniemi can't count on lasting that long. So, he advises, "we just have to keep every tram ticket and sales slip, and write down or record all our thoughts." Video would make for a better imprint of his consciousness, a document of the world seen through his eyes, but it's impractical; the still snapshots will at least provide a "jerky account". He plans on doubling his current rate of 100 pictures a day.
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For those intrigued to explore further there's an in-depth publication about Kurenniemi that was published by MIT Press a couple of years ago, the essay collection Writing and Unwriting (Media) Art History: Erkki Kurenniemi in 2048, edited by Joasia Krysa and Jussi Parkikka.
Blurb at MIT:
"Over the past forty years, Finnish artist and technology pioneer Erkki Kurenniemi (b. 1941) has been a composer of electronic music, experimental filmmaker, computer animator, roboticist, inventor, and futurologist. Kurenniemi is a hybrid—a scientist-humanist-artist. Relatively unknown outside Nordic countries until his 2012 Documenta 13 exhibition, ”In 2048,” Kurenniemi may at last be achieving international recognition. This book offers an excavation, a critical mapping, and an elaboration of Kurenniemi’s multiplicities. The contributors describe Kurenniemi’s enthusiastic, and rather obsessive, recording of everyday life and how this archiving was part of his process; his exploratory artistic practice, with productive failure an inherent part of his method; his relationship to scientific and technological developments in media culture; and his work in electronic and digital music, including his development of automated composition systems and his “video-organ,” DIMI-O. A “Visual Archive,” a section of interviews with the artist, and a selection of his original writings (translated and published for the first time) further document Kurenniemi’s achievements. But the book is not just about one artist in his time; it is about emerging media arts, interfaces, and archival fever in creative practices, read through the lens of Kurenniemi."
Also Kurenniemi at UbuWeb