These recordings represent the point where the tastes of the Brighton Mindless meet with those of their Scottish counterparts. The Brighton boys generally like to listen to recordings of ghostly mops being thrashed till they whimper, while their friends in the North prefer a mix of hip-hop and rock that can only be described using words that start with the letter “A” – arty, angular, American, or just plain old arsey will usually do the trick. 
It was one of my Southern friend who first introduced me to Hype Williams’ One Nation, a collection of electric dreams that sometimes sounds like the work of a mind trying to think its way out of existence. If the strangely absent sound of the instruments on album opener ‘Ital’ provide a suitably morbid build-up to this concept, then the pitched down narration that runs through the second track ‘Untitled’ literalises it:
The people who are still alive when you die might hurt because you are gone. That is okay. People love other people and usually it hurts when people we love die. We even comfort ourselves with those stories that the dead person is… not really dead, and that is okay too.
But of course everyone dies, and you will too…
There’s something of the live band about this, a sense that these songs are happening in the moment, the work of minds and bodies that are reacting to their immediate situation. A lot of this has to do with the halting, tentative quality of the synth playing – set against the generally spacey, metronomic thud of the beat, the melodies have an uncertain quality to them, a sense that they are being recorded before they have finalised. Consider, in contrast, the work of some of Hype Williams’ contemporaries – most Burial tracks aspire to the condition of field recordings in their attempt to chronicle the long, dark club night of the soul, while Actress tracks are more often than not are conceived like static landscapes, revealing detail through time and close examination rather than movement.
The tracks on One Nation are similar to those on Ghettoville or Rival Dealer in that they provoke the sense that you’re listening to something that is almost not there, but where those other artists strive through this effect primarily through tricks of texture and structure that elide the distinction between different sonic elements, Hype Williams do so through a mix of texture and performance that maintains their distinction.
To state it another way: ‘Come Down to Us’ and ‘Skyline’ sound like places that you may or may not have come into contact with, while the songs on this album sound like interactions that may or may not be happening now, in real time. This approach isn’t necessarily superior to ones deployed by Burial or Actress, whose distinct approaches I’ve come painfully close to blurring into each other here, for shame – their work is perhaps more immersive than Hype Williams’, but while you catch site of various Others on the edge of your perception while dealing with their work, listening to One Nation feels a lot like an encounter with a specific Other. 
Sometimes, this Other seems tranquil about its own potential absence, such as on the aforementioned ‘Untitled’ track, but my personal favourite run of tracks comes near the end of One Nation, at the point where ‘Mitsubishi’ immerses distressed, backmasked sighs into its in-out backing track, before exploding out into the wild whistle call of ‘Jah’, which recalls Archie Hind’s description of the death twitches of freshly killed cow in The Dear Green Place, “the possible moment of consciousness, when the head loosened and the animal took that last great breath through the chittering windpipe.” 
Stripped of the rap vocals for which they were (mostly) originally composed, the tracks on Clams Casino’s three Instrumental Mixtapes create a similar effect.
Strangely, given their origins as rhythms for rappers to ride, Clammy Clams’ production has perhaps more in common with the soundscapes of Burial or Actress than it does with Hype Williams’ snap and echo. Clams Casino beats tend to rise and fall as part of the instrumentation around them, with the snap of the drums sounding like the thud of a human heartbeat, an intimate part of the ragged exhalation that accompanies it.
Take, for example, the song ‘Hell’ from the third mixtape, which sounds so much louder and more distorted here than it did when A$AP Rocky and Santigold sang and rhymed on top of it, and which nevertheless has a gentle, organic feeling to its rise and fall – an effect not entirely dissimilar to the one produced by Hype Williams’ ‘Mercedes’. 
Other tacks like ‘Palace’ (from the second Intrumental Mixtape; also originally composed for A$AP Rocky) and ‘Numb’ (from the first Mixtape; otherwise unreleased) literalise this organic effect by drawing out samples of human voices beyond their usual span, and making killer beats out of human breath. Listen to these songs on your headphones while commuting to work on a hungover Monday morning and you’ll find yourself looking over your shoulder to find out who’s been whispering away at it – and trust me, I’m speaking from experience on this front!
The texture of these mixtapes matches the fleeting, performative quality of One Nation for the sense of fleeting individual mortality that’s evoked. And if it seems unlikely that such fragile records should draw so many rappers to them, just listen to the remix of Janelle Monae‘s ‘Cold War’ from the first Instrumental Mixtape and ask yourself what you hear. Me? I hear the sound of a lone voice, calling out in the darkness, demanding a response…
October 31st, 2012
Note 4 – Empty Space: A Haunting
It’s important to read new M. John Harrison novels while on holiday. No other author is able to describe with such alarming clarity the necessity of escaping yourself.
Harrison’s latest novel Empty Space is the conclusion of a trilogy of science fiction novels that started with Light in 2002 and was continued in 2006′s Nova Swing.
Like both of its predecessors, Empty Space presents the reader with a future that dazzles with the romance of a thousand yesterdays: women who’ve chosen to be rebuilt with the “Mona” package, but who base their look on that of Marilyn Monroe; virtual fantasy lives that play out like an episode of Mad Men drained of all sex and drama (until, of course, that sex and drama forces its way on in there); covert action groups who, with their lattes and general sense of boyish intrigue, can’t help but remind you of the sort of spooks you’ve never quite managed to catch out of the corner of your eye; Harrison manages to make all of these fantasies gleam briefly in the pages of this book.
This is an exhausted vision of the future, but it’s still a vision of the future for all that, one that sees past the ever-present apocollapse and on to a possible reality that’s like right now stretched out some more. Whether that seems like a hopeful vision or a dystopian nightmare is very much up to you.
August 25th, 2012
What a joy it is to dance and sing…
…or so I seem to remember anyway. This bloggy vessel has now entered the fourth decade of its journey towards oblivion, so you can look forward to it trying out its new “all whinging, all the time” persona as its mechanics starts to fail and its withered captain feels the need to overcompensate in a tragic bid for immortality.
From New X-Men: Riot at Xaviers, by Grant Morrison and Frank Quitely
But before I lose myself to that delightful journey, there’s Ales Kot and Riley Rossmo‘s Wild Children, a comic book that couldn’t feel more like a jolt from the nineties if it had come wrapped in a pair of novelty Spice Girls underpants and been delivered by a reformed Lee and Herring. Except that it’s actually a lot more specific than that, because what Wild Chilren feels like is a a jolt from my nineties - if you can imagine a version of Grant Morrison and Philip Bond’s Kill Yr Boyfriend that tries to encompass all of The Invisibles, you’ll probably be imagining something quite like Wild Children. Like The Invisibles, Wild Children is clearly built to be read in a circle, and if the first line of dialogue – “I still don’t understand” – doesn’t get this point across, there’s another line on the third page to make the design even harder to ignore: “Some of you may think we’re evil, but I don’t think you’ll miss the point this time.”
From The Invisibles #1, ‘Dead Beatles’, by Grant Morrison and Steve Yeowell
All of which is typical of Wild Children’s approach. Part story, part lecture, Wild Children is a swaggering, talky comic that positions its readers as adult hostages, drugged and held at gunpoint by the titular teens. Weapons are brandished that may or may not be weapons, speeches about the nature of reality are given, tragedy ensues.
Some people might object to being positioned this way - former wild children with fluff-encrusted blank badges in their sock drawers might find themselves wanting to be the ones giving the lecture, for example – but while I would have probably have got more out of the comic if Riley Rossmo had been given more action to draw, the loose, unfinished quality of his line was enough to get me through a couple of reading cycles. And like I said, there’s plenty of swagger in Wild Children’s design. From its carefully combusted cover on in, this is clearly the work of a couple of people who want to start something.
The only question is, what is it that they want to start, exactly?