Hauntology Parish Newsletter - Yuletide Edition : Moon Wiring Club; The Focus Group; Jabu; Do You Have Peace? compilation; Gespensterland compilation; Prends Le Temps D'Ecouter musique d'expression libre des enfants

 Christmas is coming and that can only mean one thing -  new stocking stuffers from Moon Wiring Club!

These comprise excellent new album Sepia Cat City, a new issue of Catmask, a calendar, a T-shirt, an array of badges, and a selection of seasonal greeting cards.

Sepia Cat City is the final instalment of MWC's Cat Location trilogy (see The Most Unusual Cat in the Village + The Only Cat Left in Town). It's one of Ian Hodgson's excursions into the entropic, possibly my favorite of his modes (although I do love the classic reverb-bassline, dankly dancey mode too).  If anything, this is more delirious-sounding than some of his boggy seepage of recent years. Minded me of nothing else at all really, except just maybe some of the more disintegrated moments on 23 Skidoo's Seven Songs. Particularly enjoyed the skidding scumbles of the aptly named "Scatterbrain 9" and the whiplash churns of "Boarded Up House Musicke".

Ian Hodgson holds forth about inspirations and orientations: 

"For quite a few years I’d vaguely wanted to do something with Punk aesthetics....  A lot of the Punk visuals I recalled were (despite the fluorescent hair) monochromatic, undoubtably this was absorbed via exposure to the photocopied zine scene. So from an early age Punk seemed a bit ancient and gelled in my mind with similarly monochromatic Victorian sepia daguerreotypes... As long as I can remember I’ve had Sepia Punk as an unfocused aesthetic floating around my noggin. In my favourite series of Sapphire & Steel (Assignment 4), the opening episode, which is set circa 1980, has a group of children playing in the back yard of a shared house ~ they’ve all been taken out of a Victorian photograph and have sepia toned skin & clothes. There’s something about the studio setting + ‘off’ videotape telly colour of it all that makes it really appealing. From this I’ve always liked the specific idea of a Sepia Ghost Gang...  

"Over the past couple of years, I’ve also been watching quite a lot of grimy New York films. There’s something about the 'decaying city as movie backdrop' that I find really appealing, and it really fits with the current state of the UK ~ collapsing deregulated infrastructure. I’d say the less-obvious ones that stuck in my mind were Smithereens, Cruising, Wolfen (bit daft + so good) and Desperately Seeking Susan.... In pretty much every film there’s some kind of gang activity going on, and most of them are wearing leather jackets. I also really like the mixture of musical styles... often a default excellent funky post-Shaft score would be underpinning everything. 

"This fed into my long-term Punk rumination ~ how can you make a Punk album if you don’t really like punk rock music? If you set out to make an ‘authentic’ Punk record it would be totally boring even if you succeeded... The solution I came to was that you could make a Punk album inspired by what may have influenced the musicians of the time, rather than the specific music that was actually made. 

"I also read Cathi Unsworth’s excellent Season of the Witch Goth book... one snippet that really stuck in my mind was that Magazine wanted John Barry to produce their second album.... It really got me thinking ~ 'what if you took a load of the more arty Punk inspirations (John Barry, Avengers, Vivienne Westwood, 2000AD comic, Herzog, even something contemporaneous like Cindy Sherman) and made something with an attempt to emulate that mindset?'. 

"... I started gluing everything together with Sepia Punk in mind. I’m strongly in favour of recycling audio, so along with a large variety of newly conjured bits n bobs, I went through the MWC archive ov tat and pulled out stuff that I thought might fit with the style. What I found was that certain fragments that had already been used on specific MWC releases could be nicely repurposed ~ especially once combined / glued together / looped into oblivion with a freshly composed segment. So it was as if the defining characteristics (or the potential) of the overriding Sepia Punk idea had latently existed within the original material... 

"The Cat Location LP format - 4x10min tracks - suited this composition mix, and from a narrative perspective the idea that you move from a cozy but unsettling village, to a deserted echoing town to eventually ending up joining a stylish ghost gang in a corroded city was exactly right. 

"The artwork allowed the fashionable Punk / alternative characters to manifest naturally, but one thing I always wanted was not to have a uniform style of city architecture ~ most cities are a mishmash of styles so it was important to include that crumbling Victorian warehouse vibe rather than just ‘can’t-we-have-something-else-please default Hauntology setting’ 70s concrete. 

"The first track "Ghosts of the Underground Market" - I’ve always been fascinated by Underground Markets, specifically this one which used to have a few alternative / weird shops before the '92 IRA bomb allowed mass homogenisation / insidious gentrification to creep in. If you walk over the concreted street site now, I reckon on a rainy Sunday morning you can still hear the dusty ghosts of the market shops, sedimented inside rusty escalators and echoing with the patchouli oil-scented sounds of grotty ’78 records + bootleg post-punk cassette tapes."  

"The third track 'Boarded Up House Musike' is a combination of two interests ~ in those 70s NYC films there would often be a grot disco scene and I wanted a representation of a dodgy svengali / hippy cult leader style figure that always features in squat / commune dwelling telly." 

"After I’d sent the LP off for manufacture, I deliberately didn’t listen to it for about 4 months... The main thing that it reminded me of was 20 Jazz Funk Greats ~ which sort of makes sense going by the inspirations. I’m happy with that because it would have been completely impossible for me to make a record that sounded (a bit) like Throbbing Gristle intentionally."

Ah, so I wasn't a million miles off course with my 23 Skidoo thought.

As for Catmask No. 2 - this ultra-vividly designed publication lurks somewhere undecidable between a pop annual, a hard-spined comic book in the Tintin tradition, and Radio Times (albeit with dramatically upscaled paper stock and color reproduction). 

Must say I do really like the new 'punkified' twist on the Moon Wiring Girl, as seen on the postcard below. 

With the vinyl LP, there is a fold out poster that features a bunch of alterna-girls and sepia punkettes - it reminded me just a teensy bit of the Gee Vaucher fold-out for Crass ("Bloody Revolutions" I think) with Margaret Thatcher all anarchopunxified. 

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Apart from that... it's pretty quiet in the parish. 

But hey let loose your credit card, as there's a notable reissue - The Focus Group's classic mini-LP Hey Let Loose Your Love, originally released in 2005, is out again on 10-inch vinyl, compact disc, and the various digital formats and avenues. 

Part of that originating starburst of hauntology landmarks - alongside Dead Air, The Willows, An Audience of Art Deco Eyes, Other Channels, The Death of Rave-  Hey Let Loose is one of my Top 5 albums of the 2000s.  Something I've never stopped playing, in fact. 

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But yes here in the parish, there's a hibernating feeling

In a neighbouring village, though, stirrings of note - a Bristol-aligned, if not always Bristol-located sound that is sparse but sensual...  bewitching twists on time-and-place rooted traits....  soulful, sombre, spacey, desolated, dubbily reduced and not-all-there. 

Via the label Do You Have Peace?, an album by Jabu, Boiling Wells, and a compilation, Always + Forever.

There's also a vinyl version of the Jabu album available via Six of Swords, the Bristol label started by Dave Howell of FatCat and before that Obsessive Eye renown.

Release rationale - Various Artists, Always + Forever  

‘Always + Forever’ is the first compilation to be released on Do You Have Peace?, the Bristol-based label run by Jabu. Collecting thirteen unreleased tracks from artists both new and familiar to the label, the album weaves an unorthodox collaborative web.... Originally conceived as a project to link together the dream-pop oriented leanings of a disparate group of artists, as the project grew it became more amorphous and developed its own narrative, held by a strange, half-awake quality throughout. The pop leanings are still there, although often buried under clouds of reverb, and they take their place among less heavy-lidded bedroom confessionals, DIY chamber pieces, and teary-eyed instrumental passages.   The majority of the vocal-led tracks occur on the first half of the album, leaving the second section to drift into more sedative, hypnagogic terrain. Where further voices do reappear, they feel more like half-remembered fragments of dream-speech. As the words eventually leave us completely, the album closes out through three chamber pieces, transposing classical instrumentation from the lofty heights of concert halls to more intimate and familiar settings: a box room in a flat, a bedroom, a memory of lying awake staring at the ceiling and trying to go to sleep again.   

An essential addition to Do You Have Peace?'s  catalogue, the record serves as another example of the label’s continual reframing / recontextualising of their music and influences. Like Jabu’s gradual shift from their post-dubstep / hip-hop roots to a more ethereal dream-pop sound, or the continual shift and sprawl of their NTS show with Andy Payback (one of the very best shows on the platform), it foregrounds an impeccable taste and a masterful grasp of context and connectivity. Wonderfully zoned-out and immersive, it’s a meticulously programmed, fully cohesive compilation that leads the listener on a journey ever deeper into the night. 

Featuring Equiknoxx's Time Cow, HTRK's Jonnine, and Jabu's Guest (appearing both solo and in collaborative mode with Birthmark), there are solo outings from Tarquin Manek (aka Silzedrek / Static Cleaner Lost Reward) and his sometime collaborator YL Hooi. Young Echo's Vessel contributes both solo and in tandem with Rakhi Singh (Manchester Collective), Zaumne appears with relative newcomer Hermeneia. Teresa Winter's 'Juniper' offers a sweet bridge to the tracks it's bookended by, and a counterpoint to the two consecutive offerings from the mysterious Laughter of Saints.     

'Always & Forever' is set for release on December 8th on digital formats and a limited vinyl edition of 300 copies. Featuring cover artwork from Skkinz, the record is pressed on black vinyl with full download coupon. 

Release rationale - Jabu, Boiling Wells 

Demos/sketches/interludes from the hinterland between records. Drum machines and single take vocal sketches tied together with downtime synth experiments and recordings of local disappearing areas.’ 

True as it is, Jabu’s strapline is a somewhat understated take on what also proved to be a transformative experience for them. The follow-up record to their 2020 sophomore LP ‘Sweet Company’ (and the ensuing ‘Versions’), ‘Boiling Wells’ sees tracks stitched together in one long, seamless flow and weaves a smudged, group-mind spell. Originally released earlier this year without fanfare as a ltd. cassette and digital release, it now receives the proper release attention it deserves, issued in a neatly packaged vinyl edition of 300 copies. Dreamlike, woozy, raw and in dub, the album documents a blossoming process, and encapsulates a fragment in time - holed up in the country, soaking up the atmosphere in collective isolation, creatively embracing the limitations of a small recording set-up, and finding a new way to work as a band...

 

Jabu’s debut album proper, ‘Sleep Heavy’, arrived in 2017 courtesy of Blackest Ever Black. A sublime, focused meditation on grief and loss written largely by Amos and Al, it marked the debut of Jasmine Butt (aka Guest), adding a further layer of vocal texture to their palette. ‘Sweet Company’, their first album written as a trio (released via their own Do You Have Peace? label), drifted into lighter, more ethereal introspection....

. A celebration of the endless tapestry of interrelated musical connections, it runs parallel to Jabu’s own reinterpretation of their influences. For ‘Boiling Wells’, Amos remembers a diet of “A.R. Kane, Cocteau Twins, DJ Screw, Southern/Memphis rap mixtapes, early 90’s jungle, Karen Dalton, Sybille Baier, Vashti Bunyan, Svitlana Nianio, a lot of soul, Armand Hammer & Alchemist, Grouper, Bobby Caldwell. Jazz was a constant, Japanese, Polish, Latin, American…”. And from those diverse strands, something new and singular has formed, to line up alongside them. 

 

Some slightly earlier stuff - like a lover's rock Maria Minerva

Affiliated once, or maybe still, with the Young Echo cru 

Neatly, sweetly, described by a Bandcamp commentator: 

It's like if Tricky ran a orphanage and had all of the foster kids from many different backgrounds learn how to make trip hop tunes...but with their own experiences with Punk, reggae, Hip hop, etc...i love this collective.  

Well, of course, now I think about it, Tricky was one of the first artists to get the word "hauntology" affixed to him, right... 

Did really like this first Young Echo album 

Inna GRM stylee 

(didyaseewhatIdunthere)

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Stirrings even further afield - in our twin town in Germany, Gespensterland

Local reporter Louis Pattison tells of a compilation on the Bureau B label of spektral sonification: 

 

"The sound they make blends the contemporary and the traditional, stitching-together archaic instrumentation and modern electronic production techniques, all wrapped up in the influence of folk songs and nursery rhymes, fantasy, and myth. Its makers—who release their surreal and dreamlike music under names like Brannten Schnüre, Kirschstein, and Freundliche Kreisel—sing in their native German about strange and eerie things: hauntings and silences and absences. This sense of mystery is further cultivated by the fact that the people who make this music prefer not to speak publicly about it, refusing conventional press interviews. Perhaps they fear that added context will weaken the unusual energies that move through their music. Ghosts, after all, can’t thrive under the cold light of scrutiny....

"This is meticulous, occasionally mischievous music, dotted with distinctly German cultural reference points. Schoppik’s self-titled debut solo album under the name Läuten der Seele, released in 2002, took samples of Heimatfilme—a post-war genre of German cinema consisting of sentimental morality tales—and gently twisted them into something distinctly unheimlich. There are scattered references to the supernatural and occult. Writing of the experimental sound manipulations he performs as Baldruin, Schebler invokes the psychokinetic activity of the poltergeist, a German term that translates as “noisy spirit.”

Teutonic rendering of "Scarborough Fair" there - cross-contamination of volkisch traditions.

                                                The whole compilation is also audible here

Mr. Pattison notes that the Gespensterland compilation cover is a "blurry image" that appears to capture "a scene from some pagan festival: a flower-wreathed Green Man transplanted onto the streets of suburban West Germany."

Gespensterland, if you are wondering, translates as Ghostland.

All this reminded me of the German on the roster of Ghost Box - ToiToiToi, whose Vaganten I particularly enjoyed, making me think of "Der Plan if they'd formed in 16th Century Swabia" 

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Finally some ancient maunderings 'n' mitherings on the subject of H-ology, between myself and Richard Lockley-Hobson. During the course of which I observe that:

I think every country or nationality... has its own Hauntology. Potentially anyway. This sort of cultural or para-cultural substrate of common experience that you don’t really notice until it’s gone.

 

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update 12/15 

From our twin town in France - a late addition, via a tip off from Dave Howell:

 PRENDS LE TEMPS D'ECOUTER - Musique d'expression libre dans les classes Freinet / Tape Music, Sound Experiments and free folk songs from Freinet Classes - 1962​/​1982

Before listening I wondered if this was real or whether it was one of those fictitious 'avant music made by schoolkids' releases like D.D. Denham's Electronic Music In the Classroom

After listening... well, I'm still not sure

An earlier release by the same label, Lancepierre, also seems like a prime slice of French hauntology, or at least the kind of thing that would inspire a French hauntology: a reissue titled Outremusique pour enfants 1974​-​1985

Just look at the set-up for the rerelease-rationale:

"In the land of Presidents Giscard and Mitterand, thermal clothing and elbow pads, Sautet films and Sunday roasts, the carpeting of a nursery is strewn with a handful of 7-inches. There, exotic birds and courteous elephants guarding a castle built with cakes form a Front for the Liberation of the Imaginary: colourful, systematically framed illustrations standing out against the cream background of gatefold sleeves… doorways to a maze of sounds at the crossroads between the neatest form of chanson and the most prospective jazz.

"Founded in the course of the 1970s by Philippe Gavardin, the small collection named Chevance is above all the story of buddies who were out and about between the twilight of the Trente Glorieuses and the disenchantment that followed the socialists’ rise to power, gravitating around this mentor known for his kindness and curiosity. Originally a linguist, Gavardin was one of these open-minded intellectuals, with one foot in the Contrescarpe cabarets and the other in step with the avant-garde, combining his apparently classical tastes with a keen interest in the novelties of his time. It is notably with Jean-Louis Méchali—a drummer from the free jazz scene who became Gavardin’s team-mate and arranged a good deal of the releases—that he forged the identity of this series of recordings for the younger generations: musically janus-faced, definitely literary, impregnated with a surrealism that echoed the decade’s psychedelic and libertarian experiments. The label developed a real editorial policy disregarding commercial constraints. Each record took a clear direction: modern fables, bestiaries, musical tales, cookbooks… Words were the backbone and every release was both carefully designed and perfectly manufacture..."