D

droid

Guest
minikomi said:
id really like to hear a bunch of this stuff compiled into a mix along with some choice bits of field recording, movie quotes, atmospherics...

Coincidentally enough Im working on something vaguely along these lines at the moment. Should have it wrapped by the first week in February.. probably a little sweet for the tastes here, but Ive already got several of the records mentioned in this thread in the mix...
 

matt b

Indexing all opinion
Mike Powell said:
In a way then, dub is like a "training wheel" for hauntology or hearing music as haunted; by having the original placed next to the dub, you actually hear the absences as they've been created. In something like Ariel Pink......


you could make a direct comparison here- lee perry used a 4 track and bounced down tracks= sound degredation. arial pink uses a cassette (?) 4 track for similar results
 

noel emits

a wonderful wooden reason
Not quite ready to engage wit da heavy discourse, but some things that spring to mind:

Spooky 'tronica (beats division) -

Gescom - Go Sumo
Polygon Window - Quixote
Leo Anibaldi - Muta (epecially 3)
Thomas Brinkmann - RSPB (of course featuring the ghost of Nina Simone)

Also -

Nora Keys - Songs to Cry By for the Golden Age of Nothing
 

dogger

Sweet Virginia
D7_bohs said:
When Zizek spoke in Dublin last November, he talked -to what point I now can't remember - about a piano piece by Schubert in which the composer notated a 'third part', not actually played (obviously) but to be suggested in the playing; and then he takes it out .......so firstly the performer has to play in order suggest an unheard extra part, and then he has to play it in such a way as not to suggest it ....

Do you happen to know which one?
 

mms

sometimes
k-punk said:

i posted some links to sound clips and other info earlier .
from a post on page 2:

'd like to nominate the evp researchers
http://parc.web.fm/PARC CD3.htm

the dudes that hear the voices of the dead within the hiss of radio .
http://www.aaevp.com/

here are some clips
http://theshadowlands.net/ghostwav.htm

there is an excellent essay in the strange attractor volume one journal that posits the idea of evp as audio rorschach by joe banks - worked up from his notes on ghost orchid cd, much better than the more recent one in the fortean times which was from the pov of someone who thought that evp was really real .



i'd also like to nominate old US ballad singer john jacob niles, he's particuarly haunted, singing the male and female parts in a ballad in a particularly strange, possessed, ruined way.
 
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Woebot

Well-known member
john eden said:
I thought someone had mentioned Raudive (whoo! self-referential hauntology ON THIS ACTUAL THREAD!).

nothing cropped up on the search macro. i must have a closer inspection for siderreal references ;-)
 

martin

----
The Panorama special report "Treatment and the Half-Way Line", BBC 1977, don't know the exact transmission date.

I was reminded of this documentary, when reading this, from K-Punk

The actual post-psychedelic, quasi-Eastern Bloc seediness of the 70s is unretrievable; kitsch wallpaper and bell bottoms are transformed instantly into Style quotations the moment the camera falls upon them.

(There must be some technical reason - maybe it's the film stock they use - that accounts for why British TV is no longer capable of rendering any sense of a lived-in world).


This is the one of 1977's grimmest moments - a documentary about football hooligans who may well no longer exist in a South East London that's become obsolete - I'm not sure which bits are most interesting / depressing ; the opening shot (which, with the sound turned off, could easily be from some post-apocalyptic sci-fi drama, as a long-haired teenager guides a child around a wasteland and lifts him up on a grassy bank overlooking a Canary Wharf-free and dilapidated Docklands) ; the sheer unfashionability of it all (we're talking shit-brown, orange and murky-blue striped cardigans that riot against taste and symmetry, flares that look like they hinder walking) ; the scene with the band in the pub, some awful heavy rock that's defiantly stuck in a rut, the band come across like dead men strumming - in contrast, the part where The Clash come on the jukebox is like a flash of modernity; the Richard Allen-style pulp reportage, harshly blue-lit bars where members of Treatment gather to "..recall past glories, vendettas lodged like shrapnel in the brain", while the actual kids (and where are they all now? Has anyone ever tried to trace them, or are these images their only imprints?) rant against Tottenham, and argue, "I've had a hard life....people like you'se, grew up with university, I grew up with streetfighting"; NF offices where the quaint Union Jack clocks actually look so ugly, they wouldn't even make it into an Austin Powers spoof ; hardcore nutters who look like Noel Edmonds and boast names like 'Mad Pat' and 'Bobby the Wolf' ; Charles Wheeler's warning that "The following report contains language not usually heard on television" (though it's not a patch on Big Brother) .....you can't come away from this without hearing a whirring in your ears, and a profound 'thank fuck' that punk, ragga and acid house happened, it really is watching a city of lost souls, a part of London lost forever.

See also Horace Ove's Pressure ('76) and bits of that punk film DOA ('81?) for some grimy 70s London.
 

Raw Patrick

Well-known member
Wow! is there any way to see that?

And in regards to DOA. I often wonder what became of Terry Sylvester of Terry and the Idiots - the real face of punk, number one complaint = that TV finishes too early.
 

nochexxx

harco pronting
my two cents / first post

If find the idea of hauntology fascinating and personally feel that my musical approach is somehow connected to this area. I’ve always felt that I’ve harboured a Dr Jeckel and Mr Hyde syndrome as when I’ve been creatively producing music I wait for a feeling of possession. I require this feeling in order for me to continue making music. This is when Mr Hyde takes over and my ideas are no longer my own but some deep-rooted weirdness that I’m not fully able to understand. I suppose this is why some artists fund it particularly hard to talk about their work, as Mr Hyde is not there to answer. For me hauntology music is music that sounds like it is responsible for itself and not completely self-consciously directed. The Caretaker is a good example of this.
 

subvert47

I don't fight, I run away
Tate said:
Hmm. At this point it seems to me that once we get into a situation/definition where anything that "repeat without ever being present" can be defined as 'hauntological', then we run the risk of opening a space where, as Confucius* puts it, all language and music become hauntological. But if this is so (and maybe I am wrong), then how have we limited our definition? What have we gained for describing, diagnosing, or analyzing certain forms of sonic (or other) hauntology/spectrology?

Again, not trying to be confrontational, just genuinely intrigued here!

*haha, I mean Confucius the Dissensian writing upthread, not the ancient Chinese philosopher :)


on the erroneous Confucian tip :) – the old chinese music for the ch'in is pretty haunting. And apparently Confucius was a ch'in virtuoso. Check the recordings by Lui Tsun-Yuen on Lyrichord.

dunno what hauntological is really, but if haunting comes in anywhere then maybe Scorn - Evanescence fits in.
 

henry s

Street Fighting Man
relative to the Ariel Pink/Hauntology axis, nobody has yet mentioned that this incredible creative roll he is on (House Arrest being the latest and possibly the greatest) happened a full 5 years ago!...it would be really interesting if he continued his career releasing stuff that was made in the past...I can't think of any other artist that has done that...cinematically, this reminds me of Pulp Fiction, where Travolta is killed halfway through, then the film loops back and "ends" with him and Samuel L. walking into the sunset...we forget that he's dead...this "ending" didn't really happen, and similarly, these halcyon days of Ariel Pink are a mirage (the poor guy is currently purported to be stricken with writer's block - so much so that the Paw Tracks website is holding a "provide Ariel Pink with song lyrics" contest)...
 
hell sd's post has been deleted because it's blatant spamming and it needs to go in the mix forum. if he posts it here again i'll ban him.
 
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mms

sometimes
henry s said:
relative to the Ariel Pink/Hauntology axis, nobody has yet mentioned that this incredible creative roll he is on (House Arrest being the latest and possibly the greatest) happened a full 5 years ago!...it would be really interesting if he continued his career releasing stuff that was made in the past...I can't think of any other artist that has done that...cinematically, this reminds me of Pulp Fiction, where Travolta is killed halfway through, then the film loops back and "ends" with him and Samuel L. walking into the sunset...we forget that he's dead...this "ending" didn't really happen, and similarly, these halcyon days of Ariel Pink are a mirage (the poor guy is currently purported to be stricken with writer's block - so much so that the Paw Tracks website is holding a "provide Ariel Pink with song lyrics" contest)...

that's one of two releases he's got coming out in the next month, another called pedestrian pop hits too on a label called latitude.
 

zhao

there are no accidents
saw this while surfing. files been deleted but thought track listing might be of interest:

verdantBLOG mix number two: 'There's a Ghost in My House'

Disc One:

There's a Ghost in My House by R Dean Taylor
Ghosts by the Jam
These Are the Ghosts by A Band of Bees
Ghost Dance by Prince Buster
Spooky by the Gravedigger V
The Phantom by Sam the Sham & the Pharoahs
Ghost on the Highway by the Gun Club
Ghost Dance by Patti Smith
Ghosts of American Astronauts by the Mekons
The Ghost by the Donner Party
Ghost by Neutral Milk Hotel
Banshee Beat by the Animal Collective
Sarah the Sad Spirit by the West Coast Pop Art Experimental Band
Old Ghostrider by the Triffids
Ghost by Dulcimer
All the Ghosts by the Radar Bros
Ghost Riders in the Sky by Davie Allan & the Arrows
Joe McCarthy's Ghost by the Minutemen
Ghost in the Lighthouse by Gashuffer
The Host The Ghost The Most Holy by Captain Beefheart
Ghoul Days by Gene Moss


Disc Two:

There's a Ghost in My House (live-uh) by the Fall
Hector vs Spectre by the Hector Collectors
Haunted Island by Agitation Free
Future Ghosts by Chrome
Ghost Rider by Suicide
Haunted Heart by Sun Ra & the Nu Sounds
Spooky by Money Mark
New Year's Eve in a Haunted House by Raymond Scott
(not Raymond Carver like I had it as earlier...as far as I know Carver never recorded any music, although if he did, it would consist of one note and be very very sad)
Haunted Feelings by Rahsaan Roland Kirk
Ghost of Frankenstein by Scientist
Ghostwork by 13+God
Ghosts by Japan
Ghosts on Water by John Foxx
Puerto Rican Ghost by Mars
Ghost Town (You Can't Sit Down) by the Skatalites
Ghost Wanted by Carl Stalling
The Banshee by Henry Cowell
Look a Ghost by Unwound
The Ghoul by Pentagram
 

Padraig

Banned
D7_bohs said:
When Zizek spoke in Dublin last November, he talked -to what point I now can't remember - about a piano piece by Schubert in which the composer notated a 'third part', not actually played (obviously) but to be suggested in the playing; and then he takes it out .......so firstly the performer has to play in order suggest an unheard extra part, and then he has to play it in such a way as not to suggest it ....

Hi bohs.

Yes, I attended that same Zizek address last November [much frantic-anxious discussion with him and Luke Gibbons later in the Montrose Hotel that night ...].

It was Schumann [though Zizek also has written about Schubert re Stalingrad], and he was using the example as an illustration of how ideology works:

Humoresque, arguably Robert Schumann's piano masterpiece, is to he read against the background of the gradual loss of the voice in his songs: it is not a simple piano piece, but a song without the vocal line, with the vocal line reduced to silence, so that all we effectively hear is the piano accompaniment. This is how one should read the famous "inner voice linnere Stimmel" added by Schumann (in the written score) as a third line between the two piano lines, higher and lower: as the vocal melodic line which remains a non-vocalized "inner voice," a series of variations without the theme, accompaniment without the main melodic line (which exists only as Augenmusik, music for the eyes only, in the guise of written notes). (No wonder that Schumann composed a "concert without orchestra," a kind of counterpoint to Bartok's "concert for orchestra.") This absent melody is to be reconstructed on the basis of the fact that the first and third levels (the right and the left hand piano lines) do not relate to each other directly, i.e. their relationship is not that of an immediate mirroring: in order to account for their interconnection, one is thus compelled to (re)construct a third, "virtual" intermediate level (melodic line) which, for structural reasons, cannot be played. Its status is that of an impossible-real which can exist only in the guise of a writing, i.e. physical presence would annihilate the two melodic lines we effectively hear in reality (as in Freud's "A child is being beaten," in which the middle fantasy scene was never conscious and has to be reconstructed as the missing link between the first and the last scene). Schumann brings this procedure of absent melody to an apparently absurd self-reference when, later in the same fragment of Humoresque, he repeats the same two effectively played melodic lines, yet this time the score contains no third absent melodic line, no inner voice - what is absent here is the absent melody, i.e. absence itself. How are we to play these notes when, at the level of what is effectively to be played, they exactly repeat the previous notes? The effectively played notes are deprived only of what is not there, of their constitutive lack, or, to refer to the Bible, they lose even that what they never had. The true pianist should thus have the savoir-faire to play the existing, positive, notes in such a way that one would be able to discern the echo of the accompanying non-played "silent" virtual notes or their absence.

And is this not how ideology works? The explicit ideological text (or practice) is sustained by the "unplayed" series of obscene superego supplement ...
 
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