'Hauntology is, simply put, “the past inside the present”. The aesthetic movement involved retro-worshipping pastiche, nostalgia, memory, and childhood dreamstates, in one confusing kaleidoscopic tilt-o-whirl. Ghost Box’s creators goal, with the label, was to reference a very particular period of British culture, from roughly 1960 to 1970. Jim Jupp & Julian House were calling upon a kind of folk memory of a particular age bracket of Britons, creating a mythical town square where likeminded freakniks could gather on gush over title sequences and vintage gear.
Hauntology perhaps raised more ire than any other internet-fueled genre, with many journalists finding it pretentious, with its Marxist underpinnings and Critical Theory lexicon. Perhaps even worse, some find hauntology to be “nostalgic”, examples of a decadent society. There’s nothing left to do, man, nothing left to say. Nothing can be seen that isn’t shown.
It is, perhaps, to Ghost Box’s credit, and telling of the state of our current that Ghost Box are here to herald their 10th anniversary (in typical atemporal fashion, in their 11th year). Because Ghost Box had their finger on the trigger of a number of societal ailments, and possible cures – most notably, the death of the music industry and of creativity.
Because, you see, hauntology references the past inside the present. It references the media we see and watch and share and remember, and re-creates those sensations in uncanny new shapes. It’s a bricolage from the yellowed shards of yesterday, spun into funky tinsels of tinny beats and far-out organs, modern day head records, for heads and by heads.' - forestpunk
'Often referred to as a modernday Factory Records, Jim Jupp and Julian House’s retro-referencing, forward-looking Sussex-based label, celebrates its 10th anniversary – and they’ve given us a rare interview.' - CARL GRIFFIN
'In 1920s Hamburg, a dancer couple created wild, Expressionist costumes that looked like retro robots and Bauhaus knights. The dancers were Lavinia Schulz and Walter Holdt, and through the new Museum für Kunst und Gewerbe Hamburg (MKG) online collection, their tragic, forgotten story can be rediscovered.' - Allison Meier
From 2012 'Gothic Music traces the sound of the Gothic from the eerie echoing footsteps that haunt gothic novels to the dark soundscapes that give contemporary goth nightclubs their dark atmosphere. This broad perspective enables Isabella van Elferen to widen the scope of gothic music—which includes bands such as Christian Death, Bauhaus, The Damned, and The Sisters of Mercy—from its roots in the contemporary goth subculture to manifestations in mainstream literature, film, television, and video games, while also offering a musical and theoretical definition of gothic music that is lacking in current scholarship. Bringing together versions of the Gothic in all media, van Elferen connects those to the subculture—a historical and theoretical connection that has not been made previously in gothicist or goth scholarship. Whether giving voice to the spectral beings of early cinema, announcing virtual terrors in video games, or intensifying goth’s nocturnal rituals, gothic music truly represents the sounds of the uncanny.' - University of Wales Press
A Hitchcock mashup where Kubrick is the villain. "Jimmy was having a rather beautiful day until he bumped into Jack and things got weird." Directed by: Adrien Dezalay, Emmanuel Delabaere, Simon Philippe.
'When we’re children, ghosts are translucent forms draped in white sheets molded to mimic someone we once knew. They fold themselves into dressers and skulk behind the banister; they cower in the attic and wreak havoc on the home when night falls. In stories told around campfires and at sleepovers, ghosts harbor vendettas and seek revenge, they pursue the innocent in search of absolution. A haunting of any sort is a malicious thing, and though the ghosts rattling the pipes disappear after a certain age, the foreboding, creeping sense that we’re being haunted by something distant doesn’t always leave. Ghosts of our former selves vaporize and find homes in new vessels – they seek us out in photographs, in heirlooms, in déjà vu, and in music. Certain sounds evoke a place and time, a person, so suddenly that hearing them can feel like pointed attacks. They transport us, whether we ask for it or not, into an earlier iteration of ourselves, returning the past to present, collapsing our sense of linear time.' - Gabriela Tully Claymore
'As an Englishman in his early 30s, Willgoose would have first-hand memories of the sinister public information films of the late 70s and 80s, a Britain of dirty browns and greys, with atonal electronic soundtracks and kids falling through cracked ice or electrocuting themselves on power lines. It’s an era that’s been mined by artists like the Advisory Circle and Belbury Poly on the Ghost Box label, that prey on a collective dread and fear, and other hauntology acts tapping in to this unique English surrealism.
Willgoose says the decision to embrace older footage and reports was aesthetic, but also due to a “residual terror” of the 80s films, adding: “I do remember being shepherded into the assembly hall and watching these horrible films and thinking, ‘Jesus I’ll never play with a frisbee near an electric pylon again’. Also, I like the objectivity with the passage of time and the perspective it gives to these songs. Possibly something to do with the sound of it on a sonic level, I really love the character of the voices back then and how evocative they are, it gives the music a different dimension. I kind of feel with 80s public information films, it’s almost too soon to be using , unless we actually worked our way up to the 80s, which in some ways we are I suppose.
“We’re slightly off to one side from Ghost Box. I reckon from their point of view, they probably think we’re not for real enough, because we don’t take ourselves quite so seriously. We’re not averse to banging a few melodies in there and making them appealing in a pop way. I don’t really hear that in Ghost Box. I like their output but I think it’s a lot more serious, with furrowed eyebrows. The people who have a problem with what we do, tend to be people who are into that. They probably don’t like people like us coming in and maybe being a bit less serious about it, but I like music that has a bit of a sense of humour, rather than a sense of importance.”' - Conor McCaffrey
Steven Shaviro's review of Inventing the Future: Postcapitalism and a World Without Work (by Nick Srnicek and Alex Williams)
'The greatest strength of Inventing the Future, to my mind, is that it does indeed turn our attention towards the future, instead of the past. A big problem for the left today is that we have too long been stuck in the backward-looking, defensive project of trying to rescue whatever might be left of the mid-twentieth-century welfare state. While it is perfectly reasonable to lament our loss of the safety net that was provided by mid-twentieth-century social democracy, the restoration of those benefits is not enough to fuel a radical economic and political program. Looking nostalgically towards the past is far too deeply ingrained in our habits of thought. We need to reclaim our sense of the future from Silicon Valley and Hollywood. As Srnicek and Williams put it at the very end of their book,
"Rather than settling for marginal improvements in battery life and computing power, the left should mobilise dreams of decarbonising the economy, space travel, robot economies – all the traditional touchstones of science fiction – in order to prepare for a day beyond capitalism."
Post-capitalism (or better, communism – to use another word that is absent from this book) today has only a science fictional status. It’s a hidden potentiality that somehow still manages – just barely – to haunt the neoliberal endless present. Our rulers have been unable to exorcise this potential completely; but thus far we have been equally unable to endow it with any sort of substantiality or persistence. Inventing the Future looks beyond this impasse, to extrapolate (as all good science fiction does) a future that might actually be livable. This is its virtue and its importance.' - Steven Shaviro
'Stone Tape neophyte John Doran reviews the brand new Peter Strickland BBC Radio 4 radio drama adaptation (at a play back in the freezing cold, pitch black crypt of a London church), while old hand Richard Augood heaps praise on the original blood-curdling TV play. *CONTAINS SPOILERS*'
'Annebella Pollen’s The Kindred of the Kibbo Kift is a revelation. This scholarly book explores England’s most fascinating and forgotten youth movement. Through a detailed examination of the highways and byways of esoteric thought and alternative politics in the early 20th century, as well as plentiful photographs (many taken by a young Angus McBean, an active kinsman in the late 1920s), it reconstructs a radical moment lost to history, a future that never happened.
Formed by John Hargrave in 1920, the Kindred of the Kibbo Kift were an extraordinary mixture of the archaic and the hypermodern. A back-to-the-land movement that used the techniques of contemporary advertising, it offered a holistic, dazzling vision. As Hargrave wrote in 1924: “The method of the Kibbo Kift is based upon a direct appeal to the senses by means of colour, shape, sound and movement, that is, by every form of symbolism.' - Jon Savage
'To mark the arrival of Samhain, Newcastle-based hauntology/drone master craftsman Joseph Curwen has put together a special hour of HP Lovecraft-inspired music. It was broadcast on Spool’s Out Radio, tQ contributor Tristan Bath’s weekly radio show focusing on music released on cassette tape on London’s Resonance FM.
The piece, comprising a single 60-minute composition and built upon a reading of HP Lovecraft’s 1924 short story The Rats in the Walls, is a sickening hypnotic mix of beats, haunting synths and distorted voices, perfect for costume parties and ritual sacrifice. Joseph Curwen’s Shunned House tape previously featured in tQ’s list of Albums of the Year 2014, and he has recently supported the likes of Sly & the Family Drone live in concert. The Rats in the Walls will receive a physical release at some point in the future.' - The Quietus
'The evidence of death and dying has been removed from the everyday lives of most Westerners. Yet we constantly live with the awareness of our vulnerability as mortals. Drawing on a range of genres, bands and artists, Mortality and Music examines the ways in which popular music has responded to our awareness of the inevitability of death and the anxiety it can evoke. Exploring bereavement, depression, suicide, violence, gore, and fans' responses to the deaths of musicians, it argues for the social and cultural significance of popular music's treatment of mortality and the apparent absurdity of existence.' - Bloomsbury
'Peter Strickland is directing an audio version of cult 70s horror The Stone Tape with Romola Garai, Julian Barratt and Jane Asher, while Eve Myles and Naoko Mori star in a new radio adaptation of Koji Suzuki’s Ring' on 31st October 2015
Gorgeous wintry electronics. A Rest Before the Walk blends the radiophonic atmosphere of bygone TV horrors with an icy, digital folk sensibility. The fourth self-released album from pscycho geographical electronics investigator Keith Seatman.
'What's in a name? Calling your band Hauntologists summons up some very specific images: Children Of The Stones, Ghost Box records, Delia Derbyshire hunched over some tape loops, real ale drinking beard enthusiasts... But this has none of that.
And yet, the name still feels apt. The debut album from Stefan Schneider and Jay Ahern (a pair who, separately, have quite the intimidating back-catalogue) is 11 tracks of sleek minimal house, but there's just a dash of the uncanny about it. While the rhythms are machine-tooled for precision, there's something slippery and unsettling going on beneath the surface.
Take 'Brooklyn', which bounces along a Dopplereffekt-like shuffle, while a creaking background rattle draws your attention. Or 'Turned', with its ominous industrial breakdown.
By its nature, this is repetitive music and, at times, the album does have a tendency to fade into the background. But at its best – the plucked strings of 'Hush' or the closing 'Rain', which brings to mind the playfulness of Christian Vogel – it's utterly hypnotic.' - Will Salmon [CLASH]
Sharing your scoops to your social media accounts is a must to distribute your curated content. Not only will it drive traffic and leads through your content, but it will help show your expertise with your followers.
How to integrate my topics' content to my website?
Integrating your curated content to your website or blog will allow you to increase your website visitors’ engagement, boost SEO and acquire new visitors. By redirecting your social media traffic to your website, Scoop.it will also help you generate more qualified traffic and leads from your curation work.
Distributing your curated content through a newsletter is a great way to nurture and engage your email subscribers will developing your traffic and visibility.
Creating engaging newsletters with your curated content is really easy.