ghost signal #2: the ninth inning
heroin & your veins – i feel nothing (00:42)
labradford – c (02:55)
nonsun – peace of decay, joy of collapse (08:11)
heinali & matt finney – tinderbox (16:43)
aluk todolo – iv xii mmx (26:26)
shrine – radiant skyline (unit 4) (35:30)
lawrence english – object of projection (43:20)
the bug & earth – agoraphobia (47:45)
dälek – it just is (52:47)
samples taken from detour (1945)
Presenting a new mixcloud series of hour long playlists posted every other Thursday. Ghost Signals is a collection (mostly) instrumental drone/ambient/doom/psych/post-rock/metal/modern classical pieces that share a common mood, loosely threaded together by samples from old noir movies/short stories/talks and speeches etc, inspired by Midnight Radio by Ehud Lavski and Yael Nathan: https://imgur.com/gallery/oYoLyHC
ghost signal #1: horror eats the light
grails – i want a new drug (00:00)
dag rosenqvist & matthew collings – renaissance (02:57)
erik lavender – innesluten (07:35)
locrian – a visitation from the wrath of heaven (13:04)
glacier – though your sins be as scarlet, they shall be white as snow (21:19)
bohren & der club of gore – maximum black (34:16)
origamibiro – odham’s standard (41:36)
rafael anton irisarri – sky burial (44:36)
wrekmeister harmonies – night of your ascension (pt 5) (49:49)
spoken word parts written by thomas ligotti.
Ore is a ‘tuba doom’ album. Which sounds ludicrous, and thankfully the label doesn’t nearly do it justice – half an intimate, solo meditation on loss from sole member Sam Underwood, playing tuba and accompanying himself with such lo-fi things as drumming on Ikea shelves, half a series of frequently surprising collaborations with a variety of different instrumentalists, Belatedly is a tricky record to categorise. But whatever you want to call it it’s a gem of a record.
Post-metal and ambient/drone aren’t genres which you would think could easily co-exist. Charnia have a good go at splicing them together on Het Laatste Licht (The Last Light) and whilst they don’t quite manage to square that circle they still find some interesting and fertile ground for experimentation.
Matt Finney was off-grid for a while before last years excellent record with Siavash Amini but seems to back in force with a barrage of releases with a menagerie of different collaborators. This one, with his old sparring partner Heinali, tells the story of that hiatus in typically unflinching fashion.
I’ve been listening to a lot of drone/ambient/modern composition and the like over the past few years but have seldom written about it. I find it hard to quite capture what’s going on in these abstract pieces. If writing about music is dancing about architecture (and cheers Zappa for sewing that seed of doubt in every music writer’s mind) then writing about abstract pieces is like trying to describe alien structures of non-Euclidean geometry whilst on too much acid to ascertain which limb is which.
Or at least it is for me. Maybe I just feel uncormtable describing anything I can’t overuse the word ‘riff’ for.
Anyhow. I had a go at reviewing the latest work from Lawrence English. i very much like it, something which I hope comes through in this unappetising word salad.
Review, as ever, over at Echoes and Dust.
New year, new reviews of intimidatingly long, unbearably anguished doom records. Endless Floods, of Bordeuax, France, slow down and stretch out their songs to the point their heaviness almost becomes ambience. They’re one of the most interesting bands operating in the genre at the moment and despite utilising familiar tools and riffs their latest is something pretty unique.