(no subject)
12 September 2019 23:14![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
haptalaonI'm kinda struggling with my Reading List. Ahead of putting my website live, I'm working through a chunk of my to-Read List, leads ive found in other books or articles which I suspect might have hidden arcane wisdom within.
This week, it's hauntological music: Ghost Box, Boards of Canada, Belbury Poly, Advisory Circle and so on. These artists use strange sonic artifacts from the 70s to create new, ambient albums which are at once comfortably nostalgic, and yet also disquieting, somehow touching hidden childhood texture memories.
Hauntology relates to the Landweird because the Landweird itself is a kind of huge, confused, jumbled memory, a half remembered dream. Hauntological works seek to evoke that state, and so they're great meditation tools or things to trio deeper insights. And predominantly, it's because I am *obsessed* with hauntological genre prince The Caretaker, and similarly obsessed with Mark Fisher, the philosopher who gave the movement it's name and underlying politics.
The thing is I...really don't like Ghost Box all that much. I'm not sure why. I don't find it as immediately delighting as I do the Caretaker, and appreciate it more with my mind than my gut.so there's that. And the second thing is...These albums are supposed to evoke Landweird, as well as a time before youtube, before cassette, when music was still hard to find and associated indelibly with the physical object of the record. Like, an important part of the 70s allure for me is the way stuff could be forgotten or lost, like how difficult it was to find musical back catalogs, how impossible it was go record or capture television, even family memories. So...going straight to these niche music producers and streaming them is so...wrong for the sensory experience I want from then. I should find them, in a junk shop, and have them on vinyl -aounds out of time, pervading my daily life. Not as background sounds to the passive consumption of the web.
But im not sure I like any of this music enough to take a risk like that, and find out if the investment in the vinyl is in fact the tipping point which makes this music come alive. Perhaps it's as simple as, I kinda love what this music represents, but I just...don't like it.
This week, it's hauntological music: Ghost Box, Boards of Canada, Belbury Poly, Advisory Circle and so on. These artists use strange sonic artifacts from the 70s to create new, ambient albums which are at once comfortably nostalgic, and yet also disquieting, somehow touching hidden childhood texture memories.
Hauntology relates to the Landweird because the Landweird itself is a kind of huge, confused, jumbled memory, a half remembered dream. Hauntological works seek to evoke that state, and so they're great meditation tools or things to trio deeper insights. And predominantly, it's because I am *obsessed* with hauntological genre prince The Caretaker, and similarly obsessed with Mark Fisher, the philosopher who gave the movement it's name and underlying politics.
The thing is I...really don't like Ghost Box all that much. I'm not sure why. I don't find it as immediately delighting as I do the Caretaker, and appreciate it more with my mind than my gut.so there's that. And the second thing is...These albums are supposed to evoke Landweird, as well as a time before youtube, before cassette, when music was still hard to find and associated indelibly with the physical object of the record. Like, an important part of the 70s allure for me is the way stuff could be forgotten or lost, like how difficult it was to find musical back catalogs, how impossible it was go record or capture television, even family memories. So...going straight to these niche music producers and streaming them is so...wrong for the sensory experience I want from then. I should find them, in a junk shop, and have them on vinyl -aounds out of time, pervading my daily life. Not as background sounds to the passive consumption of the web.
But im not sure I like any of this music enough to take a risk like that, and find out if the investment in the vinyl is in fact the tipping point which makes this music come alive. Perhaps it's as simple as, I kinda love what this music represents, but I just...don't like it.
