Just over two weeks to go now... How strange it feels to be waiting, in hideous suspense, to see if you're going to be living in a flawed but functioning democracy or a fascist state reigned over by a moral and cognitive degenerate.
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One of the most surprising things about the times we live in is that that people are not voting in their economic interest.
By any objective measure, the US economy is roaring. 401(k)s soaring. Jobs plentiful, inflation plummeting. Interest rates cut. Prospects rosy for the future. Economy envy of the world. All the traditional bellwethers favor the incumbent party.
But people are ignoring the rosy economic outlook - pretending not to see it, disbelieving the official metrics, the expert opinions, the punditocracy.
They are instead voting on the basis of their values - and on what they prefer to believe is the other tribe's incompetence and malevolence, their America-hatred.
Voting for your principles, not pocket book issues or self-interest: I suppose that would be admirable, if the values weren't so ghastly and evil, so cruel.
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The USA is like conjoined twins. One twin has its issues but is basically sane and pragmatic. The other twin is mentally ill, living in delusion... opposed, with a Tourettic frenzy and ferocity, to whatever its other half says or does... so consumed with resentment against the other twin, it seeks to thwart and injure its symbiotic other half, even at the cost of its own survival.
This is why I have thought for some while now that the only future for this country would involve either Reconstruction or Partition. Yet neither is practical. The former would involve a mass program of cult deprogramming. The second - the surgical option - would involve the transplanting of entire cities - islands of blue or red within red or blue states - to other parts of the country.
Perhaps, in time, internal migration will incrementally bring about the partition scenario. But really the two countries live side by side - there's hardly any place where there are no MAGAs at all, hardly any place where there aren't isolated progressives keeping their heads down. It's actually not unlike The City and The City - people sharing the same physical space but living in different realities.
Even if Harris wins, this fever will not subside soon, perhaps not in my lifetime. There is an economy built around its furtherance, its escalation. An economy of stupidity.
Kieran Press-Reynolds with a fascinating story for GQ about Galaxy Gas, a flavored nitrous oxide product that's all the rage and whose cute packaging recalls Alco-Pops in its kiddy appeal
Oooh and talking about giddy pop thrills - quick update, they come so thick and so fast these days, here's another KPR piece, a tribute / memorial to the "lost promise of hyperpop". For Pitchfork.
where the post title comes from, but you knew that, right?
Had a blast chatting withPaul Leary and King Coffey of Butthole Surfers for Pitchfork about their latest batch o' reissues: Cream Corn from the Socket of Davis, Locust Abortion Technician, Hairway to Steven.
The chaos-capturing pix are by my old friend Pat Blashill (author of Lone Star punkscene photohistoryTexas Is The Reason), reuniting us on the same page for possibly the first time since Melody Maker days.
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Had a really interesting chat with Greek journalist Angelos Kletsikas about Futuromania - touching on subjects like retro culture, AI, politics + pop, form versus content, and the imperishable appeal of raves.
Kieran Katchup Time - our kid's been writing up a storm lately.
Here's a grrrrrrrrrreat reported piece on forest raves in the outer boroughs of New York - for The Face.
And for iD, here's a profile of rap wunderkind Nettspend. - fascinating even if you never heard of the artist or don't have any time for this kind of sound.
(Now if only Blitz still existed, Kieran could go for a ye olde style bibles hat trick).
Caught some flak for this negative review at Pitchfork of experimentalists-turned-irritants Callahan & Witscher and their meta-meta project Think Differently
I have contributed an essay on Pulp for I'm With Pulp, Are You? which draws on the archive of imagery and memorabilia Mark Webber has been collecting since before he joined Pulp in 1995 - first as president of the Pulp Fan Club, later as tour manager. Along with his own reminiscences and the mass of photographs, flyers, record covers, set lists, stickers, posters, press clippings, merchandise, promo material and assorted ephemera, I'm With Pulp also includes a foreword by Jarvis Cocker and an essay byLuke Turner of The Quietus.
I am participating in a Los Angeles event celebrating the book at Skylight Books in Los Feliz - this Wednesday, September 25, starting at 7pm. I'll be talking about Pulp and then Webber will be interviewed by Tosh Berman with Q & A to follow.
There was this New York band in the late ‘80s that we at Melody Maker loved - Hugo Largo.
They had a unique sound - no drums, almost no guitar... instead two melodic basses and an electric violin supporting and winding around the voice of Mimi Goese, a performance artist and dancer who brought gesture and mesmerizing presence to the group's intimate shows.
The songs were slow, still, soft.... yet suggestive of great tensile strength... and often piercingly dramatic, bursting with overflowing emotion. Echoes of Young Marble Giants, pointers towards slowcore and that kind of thing, but also, obliquely, maybe Earwig / Insides.... various other groups on the edge of things - outfits too original and one-off in their conception and execution to be shunted into any kind of scene or movement.
Inevitably, Hugo Largo did get bracketed as "ethereal", operators in the vicinity of Cocteau Twins and 4AD-ish stuff. But that is misleading, as their thing was grounded in the real world - the natural world especially - and the wonder to be found all around us, rather than some fairy-tale fantasia. The lyrics, in particular, were acute, sometimes funny, always surprising. For the most part, the words were clear and legible in their delivery and placing in the mix - very far from speaking in tongues or mystic gibberish.
Hugo Largo had some famous supporters.
Michael Stipe co-produced their debut album Drum - and sang backing vocals on a couple of songs.
They got signed by Brian Eno to his label Opal / All Saints, for which they recorded Mettle.
And then that was it. The group split up over directional conflicts, dispersing to pursue different paths in music, the record business, and other creative avenues.
For a long, long time their music has been unavailable - out of print, not on the streamers.
Until now.
Huge, Large and Electric: Hugo Largo 1984-1991 brings all their music back into circulation again, in the form of a 3 LP boxed set that includes Drum, Mettle, and an album of unreleased and live recordings. It's released by Missing Piece Records, a label founded by Michael Krumper, who back in the day worked at Relativity when that company put out Drum. You can buy it here.
The box comes with a booklet that includes essays by Eno, Stipe and the group’s own Tim Sommer, who prior to forming the band had worked as a New York correspondent for Sounds and written for a bunch of American publications, while also presenting Noise the Show, a legendary punk / hardcore radio program on WYNU. Hugo Largo was in part conceived as a reaction against, or at least, a different way forward from the post-hardcore noise thing. Sommer, co-bassist Adam Peacock and violin man Hahn Rowe had all previously played in Glenn Branca's "guitar army"; Hugo Largo could not have been further from that assaultive density, creating instead a sound whose moving parts were naked to the eye-ear.
The music is also on streamers for the first time.
And there's new videos for a couple of their most beloved songs.
Here's one they made back in the day for "Turtle Song", off Mettle.
As I mentioned, we at Melody Maker - or a contingent there - loved Hugo Largo. So keen were we that somehow the paper contrived to review the debut Drum no less than three times.
Credit to Joy Press - now the missus, then friend and colleague - who was first to spot the specialness and did the first review + first interview + first live review.
Then I ended up giving Drum its second review - this time as a lead review - but still as a US import release
And then it was put out officially in the UK on Land (an imprint of Eno's Opal), with some extra tracks, and Paul Oldfield gave it the most in-depth appraisal yet.
Hugo Largo's amazing cover of "Fancy" by The Kinks
And a live version from 1988, at the ICA - unusually guitar-y for them
Paul also reviewed them live when they played the ICA for the second time in 1988 (the first go they were handled by one of the few Hugo-sceptics on the paper, Jonh Wilde).
He also wrote about Mettle.
Somewhere in there I interviewed Hugo Largo twice, and David Stubbs also did a profile.
Here's my review of their farewell concert at the Knitting Factory, NYC.
And somehow, even though you've been here so many times before, you're never prepared for the way that each week feels deader than the one before.
Until finally it's the last week of August and it's like Time's clock has stopped.
But here, in this parish, there's an unusual bustle of activity.
In the fields beyond the churchyard, I can see haystacks being made... the blackberries are ripening....
But I am talking about what the villagers have been up to... indoors… in the seclusion of their cottages and terraced houses, their garden sheds and converted barns.
The first big surprise of this Harvest season is the return from retirement of Mordant Music.
I honestly thought he'd been quietly taken off to a home, or even a hospice - but no! There's a new Mordant Music recording - KPMM: 20 Signs You Have A Thyroid Problem - available as vinyl as well as download - a sort of extension of work that all this time he's quietly been doing for legendary library music labels like Boosey & Hawkes and KPM. This completely unexpected back-from-the-dead release wittily mimics the packaging of KPM and teems with intricately manky miniatures and ominous undersores.
"When I finally lowered the Mordant Music portcullis after 20 years of sauntering alongside the mainstream I signed off with an EMS-based album entitled Mark of the Mould several tracks from which I re-worked for a Sony/KPM online-only library music release entitled Synthi Spores…during the ensuing C-19 castaway phase I composed a further hefty batch of library-style tunes intended for a mooted album with Sony/KPM, which was looking distinctly likely until my contact there vamoosed and corporate ‘reshuffles’ left the music abandoned and huddled in a folder on my desktop - classic ‘industry’ fayre I've witnessed many times and KPM itself has now moved St. Elsewhere…enter CiS, who had also previously re-released the Dead Air album and an eMMplekz 12” , to resuscitate ’n’ rally my underscores ’n’ jingles with their renowned gusto…myself and Phil Heeks fashioned a classic KPM-style ‘1000 Series’ sleeve and a random web pop-up provided the ad-hoc title (I was searching for raw plugs at the time)…I’ve made untold library tracks over the years for firms such as Boosey & Hawkes, Cavendish, Universal and Pifco etc and these are certainly some of my favourites, running a gamut of dinky styles for adverts, film and Netflix, whatever that means these days…njoi/endure.IBM
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And blimey, but here's Baron Mordant's old accomplice Ekoplekz (remember those incredible eMMplekz records - "spoken turd" meets danktronica?) with a new release titled Dirtbokz. An excellently clanky 'n' clammy addition to his vast discography, digitally available at Bandcamp and also as a vinyl mini-LP on Selvamancer.
Release irrationale:
Ekoplekz is Nick Edwards from Bristol, UK. He made waves in the 2010s with his distinctive brand of lo-fi analogue electronica for labels such as Planet Mu, Mordant Music, Punch Drunk, WNCL and Perc Trax, while also playing live around Europe. In recent times, Nick has preferred to remain a low-key presence, but Selvamancer are excited to have coaxed him back with his first vinyl release in 5 years!
Dirtbokz is an 8 track mini-album that showcases the Ekoplekz sound of now. Recorded as always on four track cassette using hardware analogue synths and drum machines with minimal post-production, the tracks retain a raw immediacy and the dirty, dub-infused sound that he was always known for.
For the Dirtbokz LP, Ekoplekz reaches back to the early acid, electro and primitive rave of his youth, all mixed in a hazy reverb-soaked echo chamber inspired by his love of ‘70s Jamaican dub reggae. ‘Frampton Kotterel’ takes a gentle detour into more melodic, sentimental territory and the set closes with the forlorn acid comedown of ‘Phader’.
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Yet another surprise is an unseasonal release from parish elder Moon Wiring Club, whose recordings I usually associate with things like ginger wine and mince pies.
But amid the heat haze of the late summer, here is a new bumper package, a double CD entitled Cat Location Conundrum. It's in my favorite MWC mode: disintegrative / entropic / marshland miasma ... Lots of interesting new-sounding moves being made with the layering of vocals... palimpsest superimpositions... maddening loops (like the nagging "well done" on "Impersonation Party") .... fresh tricks with echoes and delays... and a couple of coups when it comes to the found-soundbites (particularly love "the electronic music has given me a headache already”)
Love the new Moon Wiring Girl on the front cover - the slightly severe bowlcut-bob and fringe, the imposing lime-tinted spectacles... it reminds me of the photos you used to see in the front window of opticians and eyeglass shops: models who looked vaguely Scandinavian or Germanic, sporting "strong statement" frames
Here's a megamix / mega-mush video that Ian Hodgson's made to showcase the breadth of this double-disc delight
And here's his spiel from the MWC website:
CAT LOCATION CONUNDRUM (GEpH017CD) features TWO HOURS of HEXEPTIONAL MWC Musick(e) both freshly conjured + deftly hextracted from long-form musical experimentations undertaken to accompany the recently fabled CAT LOCATION LP trilogy.
Rather than predictably collate the existing LP tracks into a standard compilation, the CAT LOCATION CONUNDRUM features 12 refreshingly chic NEW compositions featuring some of the damn-finest MWC musick yet composed / composted! Some tunes almost made it into CAT LOCATION vinyl inclusion but were ultimately deemed thematically / locationally unsuitable / unstable, whilst others were lovingly spliced together from a gargantuan scrapvault of recycled MWC musickal detritus over the course of 10 years. PLUS there are some totally minty FRESSSHHHH 1924 / 2024 cronky-funk ectoplasmic jams to gleefully consume!
The overall ghostly-chic CAT LOCATION CONUNDRUM atmosphere is of enchanting, malleable, elongated, woozy, dreame-drift musick(e) underpinned by MWC trademarked dilapidated Moth Damaged Beats™ & wavering grainy loops often at their most delightfully precarious, served up with ample helpings of customary corrupted Vox + an exquisite side-order of kaleidoscopically enveloping quagmire electronics.
Simultaneously operating on the cusp of a lurid, technicolor ambient hinterland whilst fully submerged within a soporific quagmire Slip-Hop interzone, CAT LOCATION CONUNDRUM sees MWC progress even further OWT THERE on their jolly jack jones ~ exploring narrative sonics without a fully-functional genre safety harness whilst subliminally tethered upon a decaying waveform of stylish accessibility. All deployed with unique, slyly mischievous Ghost Party Delirium.
The myriad sounds of CAT LOCATION CONUNDRUM evoke Edwardian seaside shoegaze reveries c1986, woodland-based Stendhal Syndrome scenarios, Mock Tudor Monorail excursions around Britain in miniature, a Jazz Noir nightclub hip interplanetary Happening, deconsecrated charity shop stockroom arcane rituals and the exquisite bliss of necrotic tissue damage within feverishly ostentatious locations.
MWC ~ We haven’t forgotten how Musicke should taste.
And here's some horse's mouth snippets of inside-lowdown, with some arcane-in-the-membrane influences coming into play:
"A big aesthetic influence is the Top 5 fav 1987 Bergerac
episode ‘Winner Takes All’ where a Computercon event is sabotaged + Michael Gambon is a grumpy computer expert + Connie Booth a games programmer. The
Gambon character has death threats via exciting early modem international
business conferences in his home office ~
"Another influence is the 1994 PC game Magic Carpet, which as
I was fairly obsessed with in yon 90s. After you’d completed a level, you could
just fly around aimlessly over the beautiful scrolling 3D environment. I still
think about this game about once a week, and it’s definitely altered how I
perceive landscapes...
The figure on the Cat Location Conundrum cover is representative of a
programmer distorting through + peering out from their respective reality into
the worlds they have created (including our own) in search of the missing cat
programme, and the music featured on the 2CD are sequential locations within
this story narrative."
So now you know....
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Talking of marshy miasmas, o’er the sea in our Irish twin town Kilkenny, there's new activity from the electronical-archeological Miúin label - Boglands, a reissue of the "seminal 1983 ambient album" by the composer Tony Quinn of the Kilkenny Electroacoustic Research Laboratory. *
“This is a reissue of the seminal 1983 ambient album "Boglands", created by the composer Tony Quinn, who was an integral part of the Kilkenny Electroacoustic Research Laboratory throughout its later period. Miúin are delighted to finally reissue this album in its entirety. Remastered from the archived original tapes and approved of by the composer himself.
At long last we can listen to this music in the way that it was always meant to be heard - with the bass frequencies significantly boosted, a wider stereo image on higher frequencies, and on either a high fidelity compact disc, or as a downloaded mp3 or just streaming it off your phone, who even cares anymore.”
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Portuguese exchange students Beautify Junkyards have a lovely new album of spiderweb psychedelia, out on September 20th via Ghost Box. "The result of 2 years of research, creation, recording and mixing," the new record - entitled Nova - features celebrity appearances from Paul Weller (!) and Dorothy Moskowitz (of United States of America) among others.
Unfortunately there doesn't appear to be a video yet that I can put here as a taster. In the meantime, hark at the austerely gorgeous Julian House design and check out the official spiel below
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On the outskirts of the parish, Polypores is a resident new to me. The discography is vast and definitely worth a deep delve, but this new record The Album I Would Have Made In An Alternative Universeis really rather special with its rippling folds of analogue synth in ultra-vivid primary colours (very much in line with the palette of the CD cover, in fact).
It's a unique release only available with the magazine Moonbuilding, a periodical launched by Castles In Space and whose excellent contents are largely the work of Neil Mason (formerly of Electronic Sound) The lastest issue of Moonbuilding is preponderantly dedicated to Polypores - an interview and inventory of the voluminous output to date.
As your eye may have spied on the cover, there's also an interview with yours truly - trusty if creaky-jointed verger of this very parish.
There's additionally a chat with Justin Patrick Moore, the author of this fascinating looking book out now on Velocity Press.
Not actually from the new album but it gives you a flavour of Polypores.
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Another musician on the outermostskirts of this parish - perhaps resident in the next village along - that I have recently made the acquaintance of is Fil Jones a.k.a Fil OK, who records under various identities (solo and collaborative) in a variety of retro-electro flavours.
For an entry point into the extensive back catalogue, I would suggest checking out the album Neon Ghost (imagine an electroclash Black Moth Super Rainbow, a giallo-haunted Sally Shapiro) and in particular the track "The Hermitess": the sweetly spooky vibe and eerie vocal processing make it a neighbour to Ghost Box's pop-adjacent waftings like The Belbury Circle / John Foxx tunes. "The Hermitess" is inspired by Sunset Blvd. and features voiceover soundbites from what I'm guessing is the original trailer and the actual words of Gloria Swanson as Norma Desmond. It reminds me in spirit and thematic, if not sonix so much, of Kraftwerk's "Hall of Mirrors". Another winner on that album is "La Planete Sauvage". Check out also the albumAeromantic ("Murder of Crows" the clammy and baleful "European Folk") and the more recent cold 'n ' bouncyFOMOLAND.
No previews available as yet but keep an ear for Fil's chuneful pop-leaning collective We're in the Water and their October album She Fills The House With Fire - especially the eerie processed vocal lattices of "Manipulation" and "In the Dark".
What do they get up to in the Institute? Well, it seems we'll finally get a sense of the scope of their esoteric research with the release of By the North Sea, due September 13 on Hyperdub's sub-label for spoken-word soundscapes and audio essays, Flatlines. The work of Robin Mackay (Ccru / Urbanomic) and embarking from an unfinished project of his and Mark Fisher’s, it comes as a CD hardbound with a 48 page illustrated book, but will also be available in digital form. Buy it here or via Bandcamp.
Release rationale:
Following on from Mark Fisher & Justin Barton’s On Vanishing Land and Kode9’s Astro-Darien, the third release on Flatlines, Hyperdub’s sub label for audio essays and sonic fiction, is By the North Sea by Robin Mackay, philosopher and founder of the UK publisher Urbanomic.
The project is a sonic exploration of the perplexities of time, disappearance, and loss, channelled through the fictions of H.P. Lovecraft, the speculative mythos of the Cybernetic Culture Research Unit (Ccru), and the ghost of Dunwich—a once prosperous English trading city now lost almost wholly to the sea.
Described by Mackay as a ‘radio play afflicted by ontological rot’, the audio essay interweaves field recordings, recovered video footage, voice performance, and original music. The voices of Lovecraft scholar S.T. Joshi, actors Peter Marinker and Phyllida Nash, Angus Carlyle, Lisa Blanning, diver Stuart Bacon, and Morgan Caines of Dunwich Museum, loop and twist around Mackay’s narration in a dense, multi-levelled sonic hyperstition that lends itself to repeated listening.
Mackay began writing By the North Sea in 2017 in the week immediately following the death of Mark Fisher, returning to the archives of a project that he and Mark had embarked upon in 2001, with the themes of the original ‘Dunwich Project’ taking on a new character in the wake of Fisher’s death, and becoming a device for asking questions about finality, about things that could now never happen, about the possibility of continuing, and about a distanced friendship marked by depressive absences and constantly deferred promises to spend time together.
The ‘definitively unfinished’ version of a project that does not, has not, and never will exist, By The North Sea tells of the search for a mode of time where nothing passes definitively and everything can, with the correct procedures, be accessed, re-synthesised, and recast. In a series of resonating narratives across different moments in time (1949, 1968, 2001, 2017), characters including anthropologist Echidna Stillwell, time-travelling professor Randolph Templeton, Lovecraft, and Fisher and Mackay themselves emerge and are submerged in turn, swirling continually around the conceptual figure of Dunwich, as their search takes on the character of a repetition compulsion–a collective return to the site of an impersonal trauma.
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Also out this month, a new album by Keith Seatman, veteran purveyor of "Musical Oddness & Wistful Tootling".
Release rationale:
a skip and a song to see us along is the 8th album by Keith Seatman and his 1st non-Castles in Space album release since 2017. Castles in Space will be releasing a new LP from Keith in Feb 2025 and a 7inch remix single in late 2024.
In the meantime this release is a collection of 10 new tunes featuring more of his Odd Electronics, Psych, Radiophonics, Drone, quirky melodies, samples and random thoughts. Douglas E Powell joins Keith again and supplies Acoustic Guitar on track 10 jumbled letters.
Portsmouth based Keith Seatman was a founder member of 80s-90s indie band The Psylons. Over the last 13 years, Seatman has released seven solo albums (two LP’s and one 12inch single through Castles in Space) and three EP’s (The Broken Folk EP in collaboration with Jim Jupp Ghostbox Records). He has developed a unique style of unsettling electronica rooted in a very British sort of electronic psychedelia.
In the absence of a video for the new project as yet, here's an older one for a track which uses the same sinister-old-lady sample as long long ago used by Moon Wiring Club… “keep to small… avoid large places”.
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Thanks for the MEMOREX- that's the name of a collaborative tape made by writerTravis Elborough and Stonecirclesampler (aka Luke J. Murray, maker of aunterlogikal ardkore and ghostly-grime for a while now under aliases including Iceman Junglist Kru, Grimescapes, Nunton Experimental Complex, and Old Grime White Label).
On MEMOREX, Elborough narrates a spoken-word piece, in continuity presenter tones reminiscent f that Thames TV announcer Mordant Music dragged out of retirement for Dead Air; Stonecircle wafts a a spectral electronic backdrop, starting with a wonderful dilation of the old HTV ident theme into a spacy psychedelic drone.
That organisation seems to be the instigator of haunty-aligned happenings at London spots like Cafe OTO and Horse Hospital.
Like this one from last week involving Elborough and Stonecirclesampler along with a "rare screening" of Burning Pool - co-created by a member of Hula, it's "a hauntological portrait of post-industrial Sheffield that explores the idea of future ghosts inspired by the DIY ethic of the steel city’s music scene between 1979-81",
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Somehow missed (must have been when I was holidaying in Broadstairs) this early-summer release from Belbury Poly - a collaborative project withMulgrave AudiotitledFellfoul.
Spiel:
Mulgrave Audio presents FELLFOUL an audio drama by Andrew Orton, starring Aja Dodd, with soundtrack by Belbury Poly
On 10" Vinyl, Fellfoul comes with A4 John Ridgeway comic book art and a code card for a Download that includes the includes full audio drama (Parts One and Two) plus an instrumental version of the original score by Belbury Poly and a PDF of script.
The Grand Witengamot of Fellfoul invites Eleanor Wood to its weekly gathering at Jenner’s Field, by the grace of Edwin of the Chambers…”
How has Eleanor Wood never heard of Fellfoul? This 1983 fantasy film was shot in the field outside her house, and devotees of the original 1970s book series gather there every Sunday. Or so they claim, anyway. Eleanor has never noticed them before.
Strangely drawn to this obscure fictional world, Eleanor is lured from her depressing home life by the temptation of medieval swords and sorcery. But is her burgeoning fandom becoming all-consuming? And are the boundaries between fact and fantasy getting dangerously blurred? After all, there’s a Dwimmorim beneath her bedroom window. And Vermithorn the dragon is preparing his attack…
The single page comic book poster in the spirit of children's TV mags like Look-In, was illustrated by John Ridgeway. A veteran of UK and US comic book art, possible best known for his work on DC comic's Hellblazer and 2000AD's Judge Dredd.
Is that really how "lurgy" is spelled? I always thought it was "lergy" for some reason....
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What do they get up to in the other Institute? The one up the far end of Miswell Lane? Here finally is the fruit of the evidently arcane research going on up there. Published by Temporal Boundarynext month..,
Not sure about that font... or the coinage "eco-eerie"... but it looks interesting. Feel the spiel:
In Albion's Eco-eerie: TV and Movies of the Haunted Generations Phil Smith takes us through a selection of weird films and TV shows and uncovers a wholly unexpected ecological and political message. Unlike most approaches to folk horror or hauntology, we are interested here in an alternative reading; one that attends to the unhuman characters, the materials and the edgeland spaces. A hobgoblinology.
"It is a bold book that takes the weaving path of blood, trauma and sensuality away from Folk Horror and fashionable "hauntology" into new, enchanted spaces. Digging up and doubling down on messy ideas and demon lovers that exist not to elevate us to transcendence but to immerse us in the mud of grotty instinct." - Stephen Volk, author of The Dark Masters Trilogy and Ghostwatch
Albion's Eco-eerie invites us to side with the goblins and the exploited mutant hordes. It provides an essential guide for future living on a coming Planet B.
Films and TV shows discussed:
Night of the Demon
The Maze
The Company of Wolves
The Quatermass Xperiment
Quatermass 2
The Strange World of Planet X
Fireball XL5: 'Plant Man from Space'
Quatermass and the Pit
O Lucky Man!
The Changes
Children of the Stones
Whistle and I'll Come to You
A Warning to the Curious
The Lovecraft Investigations (podcast)
Hellraiser and Hellbound: Hellraiser II
The Girl with All the Gifts
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Apropos of nothing, an image tweeted by Vic Reeves a few months ago
That gave me a right Martin Parr twinge, that did. And all of sudden, R&M started to seem like parish forefathers.
More to say on this...
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My, my.... goodness me... surveying the extraordinary busyness in the parish this month and next... I must say that two things fill me with quiet pride in this deadest of dead August weeks.
Firstly, the warm glow of vindication in the little matter of M.I.A.'s political acumen.
And second... while it's become something of a backburner interest for me personally, I take great pleasure in the persistence of H-ology as a field of activity. Coming up on the next-year horizon is the 20th Anniversary of Ghost Box.... but these pastures have been cultivated for longer than that, when we consider Boards of Canada, Position Normal, Broadcast (which reminds me I clean forgot to include here the wonderful demos unearthings: Spell Blanket and the soon-come Distant Calls).
A quarter-century-plus of haunty goings-on!
Some deemed it a mere fad, a critics's fancy or phantasm...
But the artists and the fans quietly, steadily, pursue their obsessions. Releases, books, events...
There's a bustle in the hedgerow... in the spinneys and the copses... up in the bracken-covered commons... and in the grounds of the Institute(s).
Cover of the lost Boards of Canada mini-LP Autumn's Bounty
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* Give-the-game-away addendum to Tony Quinn's Boglands:
"This album is part of the ongoing music series - Kilkenny Electroacoustic Research Laboratory Anthology by the composer Neil Quigley, which attempts to preserve the fictional history of a small composer community based in rural Ireland which ran from the late 60’s until the late 80’s. It is set in a parallel version of Kilkenny which is dealing with modernisation and the seeds of what would become the Celtic Tiger."
Had a really stimulating conversation with Emilie Friedlander and Andrea Domanick for their podcast The Culture Journalist - chatting about the intersection of music and science fiction, future-pop versus retro-futurism, the eternal returns of phuture-phorward rave styles like gabber and jungle as new generations discover and reinvent them, and much more besides.
I had a great chat with Paul Rose - a/k/a Scuba a/k/a the man behind Hotflush Recordings - for his Not A Diving Podcast. We talked about Futuromania, electronic dance music, back in the day blogging, and much more besides. Immerse.
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