[review spiked from The Wire, written in September-October 2011]
Ayshay
WARN-U
Water
Borders
Harbored
Mantras
CD
With a growing stable
of intriguing artists, Tri-Angle is the 4AD of the 2010s, in the times when
the latter publishes artists like Iron & Wine, St. Vincent or Beirut . For some reason,
the 00s were marked by a shift from multidimensional projects like This Mortal
Coil swiftly replaced by tedious, repetitive mutations of singer-songwriter. We
have a problem with defining authenticity, which for many people must
invariably mean a guy with a guitar singing wistfully covers of Sufjan Stevens
in a pub basement. At the same time, anything too spooky,
kitschy or ridiculous or just too ‘serious’ was a faux pas. But not all is lost. Suddenly
artists are not ashamed of strangeness or mysticism even. Dark spaces of the internets,
anonymity of modern music making bear a strange resemblance to the gothic
spirit. Those connections are explored in depth by a doctoral thesis by Mark ”k-punk”
Fisher, Flatline Conctructs. Gothic
Materialism and Cybernetic Theory Fiction, a 'Gothic Materialism' which has more in common with William S. Burroughs than Bram Stoker. Robin
Carolan, the founder of Tri-Angle, consistently the spookiest of internet
labels, who is not bothered by suspicion of kitsch - au contraire, pushing its
esotericism to an extreme – at the same time is a fan of the lush sound of pop. What
his artists, be it Balam Acab or How to Dress Well, have in common, is an
interesting alternative to the default “poptimism” of chillwave, consistently
penetrating grey areas.
The latest two:
San Francisco Water Borders, a duo of producers
Amitai Heller and Loric Sih, and Ayshay’s Fatima Al Qiadiri, Senegal-born , Kuwait -raised
and now a New Yorker are very intriguing exercises in this new mysticism. They show us how we actually
consume music: if we’re accepting the exotic, it is only in a certain highly
conventionalized form of ‘folklore’. Their music can be qualified as an
experiment in modern ‘world’ music, having nothing to do with any cliché of it
you previously knew. Ayshay relies solely on various transformations of
Al Qiadiri’s voice: her singing acapella reinterpretations of the traditional
Islamic hymns, but the way you never thought of the Middle
East music. Filtered to degrees of complete unrecognisability, stripped
bare of any instruments, that would make it Qiadiri’s voice resemble an old
man, a child and a young woman at the same time, layered together in one
piercing drone, with a tribal beat in the background. Is it real religious
devotion or pop travesty and does it matter? Sounding so intimate, we feel like
we interrupted the artist in some private religious ritual.
In turn,
the full length from Water Borders is a richly packed experiment at marrying
the gothic and the exotic, engaging rich layers of Gamelan and African drums
and industrial sensitivity. There’s something very post-punk about the way the
seemingly incongruous styles are mixed here – the nearest memory is that of bands
like This Mortal Coil, Cocteau Twins, Current 93 or even Dead Can Dance (sic!). It reminds us
how industrial, dressed in radical politics, was actually another mutation of
gothic – and on Harbored Matras romantic,
gothic and exotic exist on equal rights. Industrial shared the gothic's obsession with technology, moral and civilizational decay, sexuality, exoticism, and above all, transgression. It is "religious" both in the sense of the old flirtation with occultism and with the transcendent, otherwordly, spiritual, celestial... According to Jon Savage, investigation of "cults, wars, psychological techniques of persuasion,
unusual murders (especially by children and psychopaths), forensic pathology, venerology, concentration camp behavior,
the history of uniforms and insignia" and Aleister Crowley's magick was present in Throbbing Gristle, but we can
apply that to many others. Then it's passed onto Joy Division and PiL, whose
marriage of cold and visceral influenced both popular goth post punk like Bauhaus and 4AD artists.
The reason This Mortal Coil records aged so well is in the end an effect of sheer
prettiness – it’s beautifully recorded, romantic and dreamy material, a
timeless Goth seduction soundtrack. In its beauty, its ritualistic, watered,
dubbed out aquatic qualities, and its rich imagery, Harbored Mantras may
have a similar future - I can easily imagine a contemporary
Goth lightening candles and playing Water Borders as a seduction record. While
the now rarely mentioned artist Muslimgauze was a music ethnographer whose
findings were to serve the fight for Palestinian Autonomy, Ayshay and Water
Borders are clearly pop. Their goal is making beautifully recorded music with a
timeless sound.
UPDATE: a few months after I wrote this review, Simon Reynolds has published a post on "the new exquisite", which was a confirmation of my intuitions that the New Complicated (to this I'd also count Julia Holter or Cold Cave) is being born somewhere in the intersection of seemingly incongrous contemporary musics and esthetics.
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