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Hacker Farm – 12,000 Seconds/Ashley Paul – 12,000 Seconds

Magic + Dreams

12,000 SecondsOf Human Bondage; salvation through restriction. An intriguing premise, where all the artists in the series were given not just the limitation of time per se but the ultra-specific requirement of actual track times (0:06, 0:23, 1:11, 2:37, 3:03, 3:14, 4:20 and 6:06) to conform to. It doesn’t matter if the actual mathematics is wrong, that it’s 60 seconds over. The extra minute seems necessary.

While Ashley Paul and Hacker Farm don’t appear aligned, this isn’t the first time they’ve appeared together; I saw them both at Salvage: A Hacker Farm Field Trip and there’s textural similarities if you listen closely enough. True, Ashley Paul’s music is more unfolded and sparse than Hacker Farm but they are both brittle commodities, prone to falling apart if you stop paying attention. Paul’s music

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Kawabata Makoto/Kathy Hinde/Hacker Farm/H (live at Club Quiet)

Club QuietThe Island, Bristol 21 February 2014

Second time round, The Island seemed less foreboding, with its seats, circular bar and rather cosy with a choice of off-kilter ambience leaking through the speakers from Bizaare Rituals.

H live at Club QuietH, AKA Heloise of the excellent ZamZam label, kicked off the proceedings in contacted cymbal loop-caught metal overlaid in temples of spinning pennies, cross-stitched, pollinated in drifting drones, cross-cut with mythological teeth and kicked in scatter-cushioned primals. A whirring cascade that literally sucked you into its unfolding dramas, those shape-shifting horizons adance with cave-painted beasts.

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Various Artists – The Outer Church

Front & Follow

The Outer ChurchYou enter a dark theater. Yr not entirely sure where you are, or how you got there. You don’t know what’s going on. You walk into the flickering shadows, the interior of a theater swims into halflight, shadowy patrons whispering, pockets of activity in the corner. A young man beats a bone drum in a ceremonial dirge in the corner, a woman in blood is speaking Baudelaire on a raised platform. Over the loudspeakers, the textured rub of raw granite, snippets of sing-song, recordings of the London Tube. A car chase flickers to life on the vellum canvas of an enormous movie screen; the music rises to a fever pitch. A detuned fiddler arises from nowhere, adds her discordant bow to

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Hacker Farm – UHF/Tmymtur – Yusei

TmymturYusei ENSL AMDC

Tmymtur - YuseiSo the blurb reads that Yusei (“Spring voice”) is all about frequencies that you can’t hear, up in those registers over 20kHz beyond human hearing. Which reminds me of those audiophile tropes about how analogue LPs transmit sounds well beyond human threshold which make for ‘fuller’ tones and all that jazz. I’m perennially ambivalent about these ideas – I like the idea that somewhere in the hinterland between physics and psychoacoustics there’s a semi-appreciable difference in acoustic presence. But I’m always cautious that audiophiles tend to be dogturds of humans battering boorish ‘quality’ into the ears of the not-particularly-bothered. Apophatic in the face of audiophiles, perhaps.

Anyway, this being a recording apparently composed of the sort of frequencies we can’t consciously

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