Posts Tagged ‘Wharf Street Galaxy Band’

Christopher Nosnibor

I know very little about this release, at least in terms of specifics. I do know that it’s the work of the prodigious John Tuffen, who also performs as part of Neuschlaufen and Wharf Street Galaxy Band amongst others. I know its physical edition is in a hand-numbered run of 50 CD-R, housed in a paper foldover sleeve in a PVC wallet, with an appropriately blank image by way of cover art. There’s a bleak, quasi-modernist feel to the night-shot photograph of a structure constructed as some kind of shelter. But a shelter without people and a car-park without car is simply dead space. One Year, Two Days is a night-time work. Recorded at night (we’ll return to that shortly), it’s the soundtrack to empty spaces and time without people. And abstract as the sound sequence are on One Year; Two Days, it’s reasonable to summarise the project as a work about time and space and a certain absence.

I do know that John likes his kit, and to fiddle with it, and that a lot of his works are ‘project’ based, centred around either a piece of equipment (e.g. 808 // Whammy (2016) and Field Memory Recorder (2017) recorded exclusively with a novation circuit) or specific times / locations. I also know that John has been working under the Namke Communications moniker for some seventeen years now, and has built quite a body of experimental work in this guise.

The track titles are simply dates and times, and show that the four pieces were recorded over two days in 2016 – as the EP’s title suggests. In some ways, it marks a continuation of the 365/2015 project, which saw Tuffen record – and release – a track a day for the entirety of 2015.

This project and its predecessor provide a considerable insight into Tuffen’s creative modus operandi, which could equally be described as a work ethic. It’s one I can personally relate to, as I strive to produce and publish at least one review a day. This does, of course, raise the inevitable question about quality control, but there are two very different positions on creativity: the first suggests creativity is something which cannot be controlled, is spontaneous. It says you have to wait or the moment, the idea, the impulse. To wait and to go with the flow. The second says that creativity is like a muscle: the more you do, the more you’re able. In time, quantity begets quality as a committed, systematic approach to making art.

‘2016-08-08-2202’ sets the tone, a distorting oscillation provides the backdrop to creeping notes which gradually rise majestically before bleeding into ‘2016-08-08-2318’. It may be growing later, but the mood grows marginally lighter. The sequencing of the tracks is a major factor in the listening experience here, as there is an overall arc from beginning to end. The mid-section, as represented by ‘2016-08-10-1909’ transitions into hushed ambience, before fragmenting into darker territory with fractured distortion and dislocation taking hold. Eventually, it spins into hovering metallic drones, the frequencies touching on the teeth-jangling.

The final track, ‘2016-08-08-2256’ forges a cloud of amorphous sonic drift, a sonic cloud without tangible form. It’s immersive, but at the same time entirely engaging, as the oscillations and quavering notes which fade in and out of the rumbling thunder slowly dissipate in a drifting mist.

While locked in time and space in terms of their creation, in terms of reception, the four tracks on One Year; Two Days transport the listener beyond both time and space. And herein lies the power of this release, in that it both freezes time, and stretches it out over a frame which has no fixed limits.

HHHHH

Namke Communications – One Year Two Days

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Christopher Nosnibor

Mark E Smith has oft claimed that everyone rips off The Fall. Mark Wynn even has a song about it, which does precisely that, entitled, appropriately, ‘Rip off The Fall’. While Smith’s claims are unquestionably exaggerated, the band’s influence is undeniably vast, and far exceeds the reach of their commercial success. One band who are unashamed in their ripping off of The Fall is Leeds / York-based combo The Wharf Street Galaxy band. But then, they only rip off The Fall inasmuch as they belong to the lineage of Can, Kraftwerk and The Fall, with a hefty dose of Public Image’s angular post-punk underpinned by dense, dubby basslines. Originally released as a three-track cassette (what else?), this expanded reissue features a brace of demos and a rehearsal recording.

A particularly Wobble-esque bass run kicks off the first track, ‘No Puffins for YOU Lad’, which finds northern churl Dave Proctor spilling a semi-abstract narrative that lurches on myriad detours in an increasingly tense and intense style that calls to mind the ranty racket of tracks like The Fall’s ‘Neighbourhood of Infinity’ and the vibe of earlier works like Perverted by Language. Angular and challenging, this is s what it’s all about, and even in 2016, this kind of stuff sounds every bit as antagonistic and uncomfortable as it did 30 years go.

The wandering spaghetti Western vibe of ‘Sergio Leone Comes to Keighly’ is suitably surreal, but grounded by a gritty Yorkshire sensibility, which essentially defines the WSGB. ‘Organised Freedom is Compulsory’ forges a monotonous groove, a long drone sustaining for some eight minutes over murky drumming and a chanted lyrical refrain of ‘Freedom is compulsory’. (I’m reminded of both The Fall and Scumbag Philosopher, another band who both rip off The Fall and have supported them, as well as Bauhaus, by the way in which the guitar serves to provide texture against the bass, instead of any kind of melody).

Of the additional tracks here – a brace of demos and a rehearsal recording – ‘Selfie Stick’ is sonically dark and lyrically savage and marks it as one of the band’s standout tracks.

But The Wharf Street Galaxy Band aren’t really about standout tracks, and as this debut EP demonstrates, they’re all about nagging away, bludgeoning the listener into submission with a blend of ragged guitar, urgent bass and hectic drumming while the vocals hector and harass.

Needless to say, I totally dig their scene. You know what you’re going to get, so go listen or bugger off back to your mundane mainstream shit.

WSGB

The Wharf Street Galaxy Band Online