Main (group) – Page 2 – { feuilleton }

Drone month

October is drone month. July is often drone month as well, if the heat rises to a degree that I can’t bear to listen to anything more taxing than Main, On Land, or the Paul Schütze recordings that feature thunderstorms. But October owns the drone because it also owns Halloween, as I noted in this Halloween playlist. The first entry there, Zeit by Tangerine Dream, is such a perennial favourite that it’s one of the few albums I can imagine writing about for the 33 1/3 books. But this year Zeit has been competing for haunted airtime with the Cthulhu album from Cryo Chamber, a label devoted to the darker end of the ambient spectrum, where choral throngs in colossal chambers are scoured by the katabatic winds that howl through vast subterranean chasms while Thrones of Darkness brood with Amorphous Abominations in the Illimitable Void etc etc.

The Cthulhu album is the first in a series of Lovecraft-themed collaborations by Cryo Chamber artists, with each release taking a Cthulhu Mythos god as its subject. I still find this one to be the best of the series so far, not least because the character of Lovecraft’s tentacled monstrosity is more clearly defined than the other gods which lends more definition to the musical illustration. There are no separate tracks on these albums, all the pieces are mixes that cover the sides of one or more compact discs, blending the contributions of the different artists into a single work. The Cthulhu drones are suitably sub-oceanic, like Eric Holm’s Barotrauma with added cosmic horror, a suite of restless stirrings from the Thing that lies dreaming at Point Nemo. Towards the end the Thing awakens to wreak havoc upon the upstart human world, but not before we’ve heard a mutant voice daring to speak aloud the invocation from The Call of Cthulhu.

Previously on { feuilleton }
• Hodgsonian vibrations

Weekend links 118

The Garden of Urban Delights (2010) by Marcin Owczarek.

His protagonists are misfits: alienated, implicitly gay, longing for love, frequently hard to be around, always fixated on small pleasures that compensate for an essential feeling of not belonging. […] His patroness Edith Sitwell termed him “that rare being, a born writer.” William Burroughs dedicated The Place of Dead Roads to him, declaring Welch “certainly the writer who most directly influenced my work.” John Waters has called In Youth is Pleasure “so precious, so beyond gay, so deliciously subversive, [it] is enough to make illiteracy a worse social crime than hunger.”

Sadie Stein on Denton Welch, a writer I’m embarrassed about still not having read. Edith Sitwell and William Burroughs had a famously disputatious correspondence in the pages of the TLS over The Naked Lunch. An appreciation of Welch’s work was one of the few things they had in common.

• Don’t mention guitars: Robert Hampson on acousmatic music, the curse of Loop and the rebirth of Main.

• No Straight Lines: A Collection Of Queer Comics part one, part two, part three. A history by Justin Hall.

• Pieces Of Gold by The Aikiu: shots from gay porn videos repurposed via some smart editing.

• RIP Ilhan Mimaroglu, electroacoustic composer. Ubuweb has a selection of his recordings.

“A good ground rule for writing in any genre is: start with a form, then undermine its confidence in itself,” he says. “Ask what it’s afraid of, what it’s trying to hide – then write that.” For Harrison, the most satisfying writers are “at odds with their cultural context. They’re trying to fit in and failing, or they’re trying to remove themselves and failing. The attempt to resolve the conflict is an angle – a frame or a context – in itself.”

The Guardian’s A Life in Writing profiles M. John Harrison. His new novel, Empty Space, was published on Thursday. There’s also this recent video interview with Arc magazine.

• Stephen Usery interviews editor Russ Kick about The Graphic Canon: Volume One.

• At home with Prince Zaleski, the “most decadent and imperial detective in fiction”.

• A Visit with Magritte: photographs by Duane Michals.

• Loitering airships could dispense drones on demand.

• Creating a Forever Object: Ian Schon’s Pen Project.

• A Tumblr for the late, lamented Arthur Magazine.

• “Few cities can boast a railway line for the dead.”

• The Lost Tapes by Can: An Oral History.

• Space Reflex (1963) by Dick Hyman & Mary Mayo | Space Is Deep (1972) by Hawkwind | Space Is The Place (1973) by Sun Ra | Space Moment (1995) by Stereolab | Space Pong (2006) by T++

Main aesthetics

Hydra-Calm (1992).

It’s always good to find a group of musicians who not only make the kind of sounds you like but also package their work effectively. Having read the Quietus interview with Robert Hampson last week I was going back through the catalogue of Hampson’s 90s group Main and thinking again how well the design of their digipak singles and albums complemented their music. Main evolved out of an earlier rock outfit, Loop, and the earliest Main productions still bear some trace of the trancey Loop approach to rock structures. The first Main album, Hydra-Calm, was released on Situation Two, and comes packaged like the first album from Faust, with an X-ray of a skull on a transparent sheet replacing the X-ray fist of the German group.

Dry Stone Feed (1993).

With a move to the Beggars Banquet label a year later, a different design approach was adopted which set the template for nearly all the Main releases during the 1990s. An outfit (or person) named Avida is credited with Main’s design, with the name being adjusted on various releases to Avida Design, Avida Formations, Avida Hydroforms and Avida Iceforms. The decision to dwell on varieties of texture matches the evolution of the group’s music from arrangements of guitar, bass and drums to abstract and increasingly minimal fields of sound; in this respect, Deliquescence was a perfect title. Hampson and co. created their sound fields by subjecting guitar noise to unspecified sampling and effects processes. When Simon Reynolds invented the term “Post-rock” to describe some of the musical developments happening in the 1990s, Main always seemed to be exemplars of the term, they really did go from being a bona fide rock band to a group pushing sound far beyond anything to do with rock music at all.

Firmament (1993).

The photos used by Avida Design start out as shots of TV screens or computer monitors then range through the natural world with close-ups of rock formations, lichen, wood grain and underwater ice. The typography is nearly always Copperplate Gothic (or a sans serif variation) printed in metallic silver ink. The most satisfying release for me was the Hz set of six CD-singles released from mid-1995 to 1996, the last of which came with a box to place the singles in and a booklet containing symbols which relate to each disc. Hz is the peak of their output, and although it was later released as a double-disc set I prefer the box.

Anyone looking for these releases today can find copies for sale at Discogs.com. Robert Hampson is still active, his site is here. A few more Main covers follow.

Continue reading “Main aesthetics”

Weekend links 78

Struggle (2009) by Lindsey Carr.

• “Twilight Science is an imprint for sound, music and DVD editions initiated by artist Paul Schütze. We will progressively publish all back catalogue, new projects and collaborations. These will include works by Phantom City, NAPE, Schütze-Hopkins and others.” Related (because Paul Schütze remixed Main): Main Feed The Collapse, Neil Kulkarni talks to Robert Hampson.

• “You can’t really narrate or display this situation, you can only, endlessly, contemplate it. When the writer or director gets tired of the iterations, he tells us who the mole is.” Michael Wood on the novel, (superb) television series and recent film of Tinker, Tailor, Soldier, Spy.

• “Havin’ a dick is pretty fuckin’ awesome” says Horst, a new gay magazine limited to 1000 copies. Related (well, there’s a guy in and out of his underwear): Naked Lunch, a fashion shoot very tenuously based on David Cronenberg’s film.

“At first, I tried fighting bullies one-on-one, but they don’t fight fair; they fight two and three on one,” Bennett said. So the youths got together and “started carrying mace, knives, brass knuckles and stun guns, and if somebody messed with one of us then all of us would gang up on them.”

“Gay black youths go from attacked to attackers” says the headline. A group of genuine Wild Boys; William Burroughs would have approved.

• Tor.com reminded me of Sally Cruikshank‘s amazing animated film Face Like a Frog (1987) which features a score and Cab Calloway-style song by Danny Elfman.

• It’s 1969, OK? Pádraig Ó Méalóid talks with Kevin O’Neill about the Swinging League of Extraordinary Gentlemen.

• In the Tumblr labyrinth this week: Fuck Yeah St Sebastian and Gender is Irrelevant.

• For when you need some motherfucking placeholder text: Samuel L Ipsum.

• “Study finds ‘magic mushrooms’ may improve personality long-term.”

• Solar Megalomania: paintings by Leonora Carrington.

• It’s all fun and games until Charles Manson turns up.

• Firmament II (1993) by Main | Firmament IV (1993) by Main | Reformation (1994) by Main.

Main

It’s the same every year, the weather gets hot (30C today) and out come the Main CDs, although the march of progress has meant importing them into iTunes this time round. For some reason Main’s Hz collection (6 EPs, later a double-disc set) is especially suited to warm temperatures, partly due to remembrance of them being released one a month during the hot summer of 1995.

Main seem somewhat neglected now despite being in the vanguard of a particular brand of ambient abstraction that emerged throughout the 1990s. To redress the balance slightly, here’s a David Toop interview from The Wire conducted just as the Hz project was getting underway.

Main‘s multi-layered, mud-encrusted textures suggest everything from radio interference to insect chatter. The group’s Robert Hampson talks to David Toop about reinventing the guitar and the mystery of electroacoustics.

DRAW A STRAIGHT LINE on sand, water, skin, steam (and follow it). Main is texture: the interiority of the guitar. The electric, effects-augmented guitar is transitional technology, a mid-point between the dextrous physicality of traditional instruments and the imaginative space of the electronic studio. But also a return to the untempered crystal world of harmonic complexity, a reversal of the pure, precise clarity of classical acoustic guitar, back into the droning resonant strings of an Indian tamboura, bottle tops rattling on a Shona thumb piano, or spider’s egg sacs buzzing on gourd resonators lashed under a Central African xylophone.

Continue reading “Main”