uttersorcery

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This Friday Eyeless records release "ANTISTAR" the new double album from American songwriter and artist Nobody AKA Willis Earl Beal. This interview is an exclusive look into his world for Utter Sorcery:

What inspired you to release a double album?

For me, it was the only logical way to tell the story this time around. 

The 16 songs had to be separate but still in the same package; like a concept album that shows two different perspectives from the same artist. 

Nelly, the St. Louis Rapper once released a double album like that called “SWEAT/SUIT” : “Sweat” was for dancing and “Suit” was more subdued and smooth.

Your music sounds very cinematic how much does film inspire you?

Entirely. 

For years, I fantasized about being a Film Director but because I prefer to work alone, Music was a medium that was more accessible to me.

I walk around thinking of myself as the Protagonist in the film of my own life. That’s how I write songs.

Can you tell us a bit about the background of Blue Dawn and part 2 Black?

“BLUE DAWN” is a collection of songs that I wrote and recorded in Boulder, Colorado, which is predominantly Populated by Rich White People. These particular songs represent the entirety of the time I spent there. The cover is a photo I took from a bench in my favorite park where I spent more time as a homeless person in the last summer of my stay.

These songs are mystical, wistful and somewhat naive, yet also melancholic.

My girlfriend and I had a temporary separation, so the last two songs reflect a degree of palpable isolation.

“BLACK” on the other hand is a group of songs that represent my thoughts and experiences after returning to Wilkinsburg, Pennsylvania, which has a significant population of Poor Black People.

These songs are more pensive because they aim to express Alienation and disillusionment regarding what it means to be myself and also what it means to be black.

Overall, I consider “ANTISTAR” to be a follow-up to “Morningstar” because of the cyclical synchronicity of the releases: both being essentially released during BLACK HISTORY MONTH and also both being released in a time of National Crisis. 

Additionally , the titles “Morningstar” and “ANTISTAR” refer to the same celestial body which is the Planet Venus. 

Venus can be seen in the dark Morning just before Dawn and can also be seen in the evening before Night.

Another parallel is Christ and Lucifer.

What’s your recording process like? Do you work slowly or with bursts of inspiration?

I definitely work with bursts of inspiration because nearly every time I record, I do so with the intention of making an entire thematic record. I don’t tend to necessarily enjoy playing music for fun but rather I always play and record with purpose. After that, I hibernate until the next project.

Do you feel comfortable as an “outsider artist” or does that term not ring true for you? 

By now, despite the cliched nature of that term; it is one that I cannot avoid. This is yet another reason for the overall title of the set. For better or worse… I’m an “ANTISTAR”.

You were keen to release this album for black history month…what resonance does this have for you and your music?

As a free-thinking individual, I find it imperative to extend my efforts toward creating substantial works that align my vision with anything that promotes positive recognition of the pioneers that got me here, though I have not always experienced this kinship in real time. 

My relationship to the conventional concept of “Blackness” in this Country is complicated, but my aim is to express myself with sincerity no matter what. 

With this in mind , it’s important for me to highlight the paradox of being seen as only Black by certain American Whites and conversely as “not Black enough” by some American Blacks. 

I’m truly a stranger in a strange land, but this music is for other strangers like me.

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Halloween II (1981 Rick Rosenthal)

Why I love Halloween II

by David K Frampton

John Carpenter was very much behind this tense and dizzying sequel to his own smash hit “Halloween”. He wrote the screenplay with collaborator Debra Hill and composed the fantastic score with Alan Howarth. However director duties went to Rick Rosenthal who went on to become a regular tv director. 

It’s a tight set and thrills in it’s confined setting. As if a stroke of genius the film was set in a hospital immediately after the end of Halloween. In fact to watch Halloween and Halloween 2 back to back would be a deeply immersive experience and a masterclass in genre film making.

Jamie Lee Curtis leads as Laurie Strode once again on the run from The Shape Michael Myers.

John Carpenter wrote into the script an astonishing discovery (no spoilers) that give this sequel extra gravitas. Donald Pleasance returns and muses on the nature of evil while becoming increasingly desperate to save Laurie. 

The set pieces are handled beautifully as if from the great master Carpenter himself and the film has this eerie half lit quality to it as if the whole thing is bathed in moonshine.

I thoroughly recommend this as it is available on Prime. It stands up as a piece in it’s own right but best experienced as a double bill.

This is quality film making.

5 stars.

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10 Horror films for Halloween

By David K Frampton

The Curse Of Frankenstein (Terrence Fisher 1957)

Hammer’s classic features a fine pair of performances from Chistopher Lee and Peter Cushing.

It also features the first time in cinema history to feature red blood. It’s so atmospheric and deep

And I love the way that Dr Frankestsein (Peter Cushing) becomes more and more evil as the film progresses yet somehow we still care about him. Classy early Hammer with tons of charm, atmosphere and darkness.

Les Yeux Sans Visage (Georges Franju 1960)

This French horror from the late 50s pioneers body horror. Beautifully shot and featuring some of the most haunting imagery of the era. There are some heart in mouth moments and a powerful performance my it’s cast…

Lake Mungo (Joel Anderson 2008)

This Australian horror flick might be the most terrifying movie I have ever seen…at least the most upsetting. But it is extremely well made and realised. A mockumentary with an edge it recounts the last days of a persons life. The gut wrenching finale is unforgettable and truly deeply scary.

Skinamirinck (Kyle Edward Ball 2022)

For true fear and originality try Skinamirink this film utilises atmosphere and tension to build a truly terrifying portrait of a young girl alone in her house. Too say anything more would spoil it but from a technical perspective this film uniquely creeps it’s way into your mind through showing and hiding key information leading to a disorientating and captivating stew of pure dread.

Raw (Julia Ducourno 2016)

Sometimes horror needs to be gut wrenching to truly have fun. And it doesn’t get much more gut wrenching than Raw. What makes this horror film so elemental is that this sort of pairs up as a coming of age tale as much as a cannibal horror. Beautifully shot and finely acted by Garance Marillier).

Jennifer’s Body (Karyn Kusama 2009)

Megan Fox arrived in this sensational witty and huge fun demon flick alongside Amanda Seyfried, writer Diablo Cody and director Karyn Kusama. The film deals with themes such as female sexuality, male gaze and the occult. It’s great fun, very bloody and somehow strangely moving.

From Beyond (Stuart Gordon 1986)

It’s always a pleasure to see some good old 80’s slime in a horror movie. This “slime classic” from Stuart Gordon is fun to watch, intense and woozy. When a scientist opens a portal to hell it is up to Jeffrey Combs to try and close it with disastrous results. This is a staple in the body horror diet as we witness flesh giving birth to flesh.

Audition (Takeshi Miike 1999)

Japan’s “Audition” is about as extreme as it gets as a film maker holds a fake audition to find a wife with terrible consequences. Takeshi Miike’s skill is to never let go of empathy for all of the characters leading to a finale that is both visceral and horrific aswell as heartbreaking. Essential horror.

Prevenge (Alice Lowe 2016)

If like me you think Alice Low is a genius then you’ll truly love her take on the slasher genre incredibly written and directed when she was pregnant. This movie contorts gender roles of men and women into new shapes as one nightmare situation bleeds into another. It’s dark…very dark but also shot with blackest humour. Stunning cinematography by Ryan Eddlestone.

Thanksgiving (Eli Roth 2023)

Eli Roth likes to make horror movies. He’s very good at them. And this is his best yet. My final entrance is a bit of fun. This slasher movie gets more and more crazy and gory as it progresses..almost a love letter to slasher movies the kills get more creative…and he keeps it in at a tight 90 minutes. It’s exhilarating, a little bit exploitative but the tension throughout is crafted immaculately.

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Next Friday 27th September Eyeless Records release Matt Finucane’s mini album of explosive post punk/ out rock with drummer Barney Guy. Matt (pic. Rob Trendy) picked 5 records that shaped him for Utter Sorcery…in Matts words..

With the caveat that the internet's smashed my attention span to bits, so I haven't listened to an actual album in full for several years (and the tracks I do listen to cover a diverse range of people and genres not necessarily reflected here), these are some that made a lasting impression:

1) The Velvet Underground and Nico - everything stems from this. If it weren't for the Velvets, I could have a cushy City job or be an estate agent or something, secure in white cishet male privilege - instead I'm a crazed, unemployable malcontent on a path of magic and perpetual creative dissatisfaction. Blame them, and the spell they cast on an impressionable 15 year-old. Best album ever? Maybe.

2) The Fall - Sub-Lingual Tablet - could have chosen anything by this band (they're almost as culpable as the Velvets). I love all their eras, but this is an overlooked late gem that really reminded me of the beauty in horrible noise and grotesque vocals. The production's totally bent, very harsh and electronic, and just wonderful.

3) Can - Monster Movie - Malcolm Mooney beats Damo Suzuki as a vocalist, and if anyone says otherwise I'll turn them into a toad. Krautrock supreme!

4) Fine Young Cannibals - The Raw and The Cooked - first album I ever bought. Very, very fine. Motown meets indie, tight as anything, ten thousand volts of charisma. Lovely.

5) Aaron, Chris and Julian Liberator - The Sound of London's Acid Techno Underground. Can't stop listening to this, proper old skool faceless techno hypnosis, really got me back into the virtue of mindless repetition.

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I just completed watching the Final Destination films on Netflix jumping to Prime for “The Final Destination “ (4th instalment). The franchise follows a series of hapless teenagers who cheat death and realise death still stalks them with increasingly bizarre accidents. There’s a great pleasure in watching these often vacuous characters get squashed, snapped, smashed and crushed! My order of favourites would be 5, 1, 3, 4, 2 but they are all great fun! FD1 sets up the premise with a now classic opening 20 minutes, FD2 roars into view with an impressively filmed pile up, FD3 features an early performance by the now megastar Mary Elizabeth-Winstead who shows her impressive range in an early role. Incidentally FD3 is one of the stronger entries featuring lots of “I’m not gonna die” monologues followed by comedy dispatch. In fact it’s this see saw between comedy and horror that makes FD such a watchable ride. Some deaths are silly, some are slapstick and some are genuinely excruciating and grim. I enjoyed 4 but some of the effects are a lttle dated. That said it grinds out it’s kills to an enjoyable conclusion and comes in at a tight 80 minutes. Arguably the series peaks at the end with a solid entry that stays close to the formula and goes somewhere new with it. The opening bridge scene is top tier Final Destination. The set pieces are beautifully handled and there are several genuinely teeth clenching moments. The final 5 minutes is mind blowing.

Perhaps with Final Destination we are all on a meta narrative about our own deaths as each thing that happens to us in life is drawing us inexorably closer to death. It is this line of tension that makes the series so fun to watch as we both laugh and reflect on the folly of life.

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Heavee "Unleash"

Hi there for a new reviews column for Utter Sorcery I have picked some albums from the past year.

I list album then write a brief summation and a star rating and then a further summary of what I love about them and the art they have made. Stars are out of 5.

Heaveee “unleash “

Crystal clear arcs of experimental footwork exceptionally detailed and throbbing with energy!

Rating: 4 stars!

I really like the way the artist combines rhythm, sound design and melody. I also like that it’s quite melancholic and ravey in places…

Kim Gordon “The Collective”

Squalling feedback drenched monotone noise rock underpinned by crunching trap beats!

Rating: 4 Stars!

I really like Kim Gordon’s deadpan cool vocal delivery buried under layers of noise. I really respect her for trying something bold and fresh!

Route 500 “island perimeter “

Gifted and loving guitar miniatures set against Route 500's gorgeous baritone!

Rating: 5 stars!

I really love love love this album a very singular sound design artfully played and crafted…

M. Butterfly “the lonesome country sounds of M. Butterfly “ volume 1&2

Emotional, nuanced and beautifully played country music by Brighton’s most loved troubadour!

Rating: 5 stars

I love the way that the artist has captured his songs intimately in a spontaneous and fresh way!

Thomas Andrew Doyle “Amalthea”

Ambient soulful and impeccably designed music from prolific composer Tad Doyle.

Rating: 4 stars

I love how Thomas constantly morphs and changes his sound from album to album..for this lp he sounds inspired by Dylan Carson, Eno and Vangelis with some early Aphex Twin vibes too.

Cherry Plum “swimming”

Raw heartfelt and incisive song by Charlie Plum including breathtaking 20 minute confessional “Future Woman Super Woman”..

Rating: 4 stars

I love how creative this album is and how it is was recorded very spontaneously it’s full of beauty and insight.

Nobody AKA Willis Earl Beal “Black vol 1 + 2”

Lofi yet beautiful 2 part album featuring Nobody expressing aspects of his identity through rap, song and spoken word

Rating: 5 stars

I like the way Willis changes his output and style from release to release and his intensity behind the mic which sort of floors you.

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Top 5 films released so far this year

Here are my top 5 films released this year on either streaming or cinema release.

I have tried to foreground less obvious choices. As I enter the cinema I often enter a state of trance where I can fully immerse myself in the spectacle. My brain seems to switch to “wide open” mode where I feel a heightened emotional connection with the film. At home I try to recreate this by turning off all lights setting up my Monitor BX2 speakers and turning off my phone for the duration. Here are 5 films…my favourites so far for this year for Utter Sorcery my blog…

1. Perfect Days (Wim Wenders)…this extremely mellow and beautiful film portrays life as many of us live but without attaining the levels of zen like acceptance and calm Koji Yakusho manages in the course of the film. It’s beautifully shot and composed and the pacing is elegant too. A wonderful film and a way of life too. One for the collection.

2. All Of Us Strangers (Andrew Haigh)…to discuss what this melancholic and romantic drama is actually about maybe too much of a spoiler. However it boasts very astute and moving performances by Andrew Scott and Paul Mescale. It has a dreamy poetic sensibility with stunning cinematography from Jamie Ramsay. The emotional climax is worth every minute.

3. Late Night With The Devil (Cameron Cairnes/ Colin Cairnes) An unerving and ingenious horror using as it’s mechanism a gameshow that goes……well no spoilers. It’s good to see David Dasmalchian in a lead role as he is excellent as the down on his luck gameshow host. It’s almost like a nightmare version of Alan Partridge’s “This Time” where we are left questioning what is in fact reality. Every moment of this film blew my mind.

4. Abigail (Radio Silence) I’m a big fan of Radio Silence aka Matt Betinelli-Olpin and Tyler Gillett. Their irreverent and blackly humorous take on the horror genre is invigorating and almost anarchic. A team of criminals capture a young girl and take her to a remote mansion to wait until the morning. Needless to say……no spoilers…try not to watch the trailers for this one as there’s lots of big surprises. A potential cross-over classic.

5. Civil War (Alex Garland) a very matter of fact…unsentimental and coldly observed look at what really could happen in USA. It’s brutality and bleakness is almost shrouded in dreamy mystery. Contextless we follow a brilliant Kirsten Dunst and Wagner Moura though a land of danger and horror as they traverse the country. I was particularly impressed by Cailee Spaeny a young and ambitious photographer. This is close to the bone. And a devastating watch.

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Peace For Old Ghosts has just released a bewitching and gorgeous new mini album “Golden Decay” on Eyeless. Utter Sorcery asked about 5 records he loves right now and might have inspired him too.

Photo: Bertie Patel

1. Sylvie - Sylvie

Beautiful, warm and emotional. Sounds like a warm duvet on a Sunday morning. Immediately familiar, this slotted into my life instantly. Amazing live band too, such love for what they do onstage.

2. Careful of Your Keepers - This Is The Kit

A great record whose warm directness hides a hidden world of complex rhythms. Like a friend whispering helpful poetry into your ear.

3. The Natural World - Land Lines

This record is almost a decade old but a friend gave it to me and it's so good. Plucked cellos, krautrock grooves, and warm synths. Minimal and intelligent.

4. I Will Not Be Sad In This World - Djivan Gasparyan

Hauntingly beautiful solo flute music from Armenia. Despite the title, it's really fucking sad, and even more beautiful because of it

5. Emerald Tablet / Echoes - Somei Satoh

Longform Japanese drone that barely lifts it's voice above a whisper. "Echoes" was written for an exhibition where speakers were placed 1km apart on a mountain, surrounding you with the sound. It must have been incredible! This is deep listening that requires a bit of stamina, but it's very rewarding.

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Lee Riley "From Here We Are Nowhere".

pic: Nicola Onions

On 28th July we release drone/ ambient/ doom artist Lee Riley album "From Here We Are Nowhere". Oxford based experimental composer Lee Riley goes right back to the origins of Eyeless Records and this is a joint venture with his own imprint Iller Eye. It will be released digitally and on stream as well as a ltd lancing pack CD and contains some of the most immersive drone music this year. I caught up with Lee to ask about his process to complement the album...

Oxford 

What’s the scene like in Oxford at the moment? When I was there it was incredibly collaborative and supportive and it’s where Eyeless was born…are you part of a strong community there or are you more independent as an artist?

Lots of great music as always in Oxford, the promoters at Divine Schism are bringing exciting bands to town regularly. I have a variable taste and like lots of types of music. A few favourites and highly recommended, on the heavier side bands like Ghosts In The Photographs, The Hope Burden, Sinews are doing well with recently released material or playing regularly. The experimental side there are things happening, I feel more independent but have many friends in other bands who support other.

I don't play solo live much. But would love to play more. I have had a close connection to Oxford over the years both in music and the arts. 

It was great being involved in the early incarnation of Eyeless and working other promoters who have left Oxford. Since 2007 I have carried on both musically and visually. Studying sonic art and forming collaborative projects with other musicians, dancers and artists. I have curated sound art exhibitions and occasionally events too.

Influence 

Who informs your practice?  There’s a remarkably rich sound to your pallet feels like there’s a lot going on in there…scraping, drones, dissonance percussion vocals x

I wanted to play a bit more on these recordings, still working with layers of drones and noise. But having more textures. No vocals but the guitar can be manipulated in a way it sounds like a voice.

I wanted to mix acoustic and electric guitar on this album, I still need to try it live at some point.

I have many influences sometimes films and TV shows like Dark. I admire musicians like Stian Westerhus, Tim Hecker, Sunn O))). I have always tried to do my own thing and find new ways to enhance what I create. 

Method 

Is there a lot of layering or is it more live? To what extent does improvisation inspire your process? Or is it very tightly controlled?

The album is very succinct was it difficult to keep the tracks quite economical considering the genre you were working in?

As mentioned above I wanted to play more being able to control the sounds more instead relying heavily on delays and layers. I wanted to separate the sounds to allow space and depth to the recordings.

It feels like in your work you are exploring the possibilities of prepared guitar and extended techniques of playing guitar….

I have always treated the guitar as a sound tool and not and instrument. Such as using the body of the acoustic guitar or bowing and scraping the strings, etc. 

I have worked with Mike Bannard in the Studio for a few releases, he understands my approach and what I want to produce and he suggests different mixing/recording techniques. He works with lots of bands and has a relaxed environment at Safehouse Studio and he is always up for exploring new ways of recording. This is my 3rd release with him on board. He has really helped bring out the details of my sounds and we collaborate in a group called UNMAN.

Influence 

The final track “No one knows what’s inside “ offers a climactic ending of noise and crescendo…is tension and release a big part of your compositional method?

My approach has always had a loose improvised feel but I feel that the composition elements evolve from playing and having creative freedom helps. I know how to make certain sounds but it's how I use them. It's ike a blank canvas layers of sounds replacing the paint. They sound similar yet different each time or when put together.

This session was made into these pieces, revisiting them like sketches. Some sounds repeat on different tracks, this helped me arrange the sequence of the tracks as a whole but they also work as individual pieces of music.

As mentioned above films and TV shows often have great sound design and atmosphere. I have always tried this whilst making my music, probably sounds cheesy but taking the listener or audience on a journey.

Are there any albums you are excited by atm would you like to talk about these?

I really like the recent album by Wolf Eyes album.

I can't wait to see Big Brave again in September, there albums sound so good and have lots of depth to there sound. Stian Westerhus has some new recordings coming soon, look forward to those.

Also I highly recommend you listen to the Recent Ghosts In The Photographs album, I had the privilege of guesting on one of the tracks. Really great underated band from Oxfordshire.

Future Plans 

What’s next for you as an artist?

I hope to play solo live more both in Oxford and different places. It's been challenging for everyone making music or bands playing over the past few years, it still is. I like performing so we will see what happens. I have a new project called DHELTR∆ with Beth Shearsby and Jeremy Moors. We have played a couple of live shows and hope to record soon.

I also hope to work with UNMAN a ongoing noise group featuring myself, Mike Bannard, John Grieve and we have a new drummer John Jobbagy.  We played with Sly & The Family Drone recently which was good fun!

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David K Frampton interviews Tad Doyle:

Kim Thayil (Soundgarden) on TAD Busted Circuits and Ringing Ears (Adam Pease, Ryan Short 2008) once remarked that Tad was a recording artist years before he had a band. I feel in TAD and Thomas Andrew Doyle's recent career, he has come full circle and now in a sequence of magnificent and very personal albums has fully dived into production and sound-making with the same depth and intensity as some of the heaviest TAD records. Tad now mixes, engineers, masters, composes, and produces music and has become the hub of a new generation of noisemakers with his Witch Ape Studio in Seattle. I have followed his career for over 30 years and one thing TAD the band would never do is look back…they moved leaps forward with each record and now in Thomas Andrew Doyle’s new career as a composer he has moved forward again at every turn. From Incineration Ceremony, to Accretion Mass, to his latest Experiments of The Spectral Order Vol 2,  he has changed styles from neo-classical, to noise music, to doom, and most recently ambient. It is in my humble opinion that Experiments Of The Spectral Order Vol 2 is his greatest album to date featuring an almost devotional intensity and a nuance of light and shade that could only be the work of a grandmaster.

So, Tad, I wanted to ask when did you start your journey from being in a band to producing other artists' work?

A: Well I’ve always had a keen sense of what sounds good. I’ve always done a lot of my own recordings since way back in the day with my first reel-to-reel tape machine that I had as a child in the 1960s and then subsequently cassette machines. The lion’s share of these recordings from the early days is lost, or unreleased, But I’d say the first time I started actively recording and producing for other bands was in 2006. Producing to me, was always kind of a dirty word. And that was probably due to my perception. But I feel now, after all these years, I am able to produce other artists' material. Mostly because I have the experience and knowledge to do so. I’ve seen a lot of different music come and go over the years. Basically, music has meant the world to me for as long as I remember.

You have mastered a number of my records including the recent Following LP on Eyeless, how did you get into mastering and how is it different from producing?

A: To be honest, I got into Mastering because there was a situation where there was a  mastering treatment that a band that I recorded and mixed had received from a mastering engineer that they chose that didn’t sound as good as the mixes that I had sent. It was not good. It seems like the band just wanted a big-name mastering engineer to be credited on their recording. But to be completely honest, it sounded horribly compressed, limited, and lifeless. The person who did the mastering was a little too heavy-handed and the top end of the mix became harsh and unpleasant to listen to compared to the mixes that were sent out. By the time the band sent me the mastered versions, it was too late because they had already gone to duplication. So I took it upon myself to master the tracks as a test. I felt confident that my treatment was better than the one they had paid for and released. The band admitted that had they known, they would’ve had me master their tracks. Previous to that, I was going down a rabbit hole regarding audio mastering. I was absorbing as much information as I could get my hands and ears on about the techniques, and implementation of mastering audio. I spent all the time I had outside of working a job to educate myself both in practical knowledge and experience. I have found that you can get an education but it isn’t until you have real-world experience through trial and error that you become good at anything. I feel that I have earned the status of being an audio professional who records, mixes, and masters audio at a professional level. I continue to learn new things every day and am always finding ways to sharpen my ears and abilities. The journey never ends in that regard. My philosophy has always been to respect the mix and stay as transparent as I can in my treatments. However, I have sent mixes back to some artists and recording engineers with suggestions on how their mixes could be made better. So that what I can do for the music will enhance and not detract. 

I wanted to ask about your creative process, you are very prolific and have released a diverse body of work…how do you begin a project, and do you know where it’s going to take you?

A: I am fairly chaotic in my methods of creating music. A lot of ideas flow out really quickly. I just try to capture the inspiration with quick recordings. In this way, I can go back through my ideas afterward with careful examination and observance. Then, I will either expand on a musical concept or delete and throw away some ideas that in my opinion aren’t worthy.

To me, some of my best work has come from happy accidents that came out in the spur of the moment. I honestly never know where a song idea will take me. My process usually starts with just a simple idea and I expand upon it. For the last few years, I have taken more things out of songs instead of adding to them. Once I have something I like in a song sketch, I will take a step back and give it a rest. Eventually, I will come back to it and reevaluate it with a fresh ear. I have found this to be super helpful. I try not to get in my head too much about the music I create. I keep it as intuitive as possible and try not to overthink things. 

The Gift Of Suffering is a personal favorite…this album seemed to combine some of your aesthetic as a composer with the heavy doom vibe of Brothers Of The Sonic Cloth. Do you see yourself as a metal artist or is that just one part of your musical language?

A: I try not to name or label the things that I do stylistically and musically. I feel when you say things like, “I’m a doom-metal guy”, or, “ I am this or I am that “, you are putting limits on yourself as to what you can or cannot do. There is a song on the Brothers of the Sonic Cloth's self-titled record entitled, “Unnamed”. I think the lyrics in that song express this idea best. I like to keep my options open and don’t align myself with any genre of music and certainly none of the labels that go with it. If someone wants to put a label on what you do, that’s on them. Those types of decisions are made by the listener based on their experience. I avoid labeling and naming things stylistically that I create, like the plague. Doing so can defeat and limit the energy of the music.

Experiments Of The Spectral Order Vol 2 is an astonishing record and I think in some ways your best…yet it features some of the most gentle and nuanced work of your career..do you feel this is a direction you’ll revisit for later albums?

A: Firstly, thanks for all the kind observations. The funny thing is, that I have been leaning more towards open and expansive compositions that develop over time. I fancy myself a musical explorer, a nomad who gets to travel vast distances to locations in the cosmic psyche. When something becomes sterile and uninteresting to me, I will move on and explore different territories, musically and lyrically. Nuance and expression are just a couple of elements that I find fascinating. At the risk of sounding like a New Age hippie, I pay attention to my surroundings on a micro and macro level. I have become aware of the energy of the earth and of our solar system and beyond. I feel like I am in tune with the universe more than ever on more than just a superficial level. I became aware that I am sensitive to magnetism and other unseen elements. As a result, I’ve become very careful with what I release into the universe. Every intention, even the word, has an energy. I don’t want to have contributed to the Akashic record in a negative manner. But I’m probably becoming too philosophical and not really answering your question. Haha. So, long story short. I will continue to use any direction musically as long as it serves me. And when it no longer does, I will discard it.

How did you create your new album? Did you layer up drones and get a vibe in the studio or was it more methodical?

A: I suppose I have my methods of doing things. But to be quite honest, it is all intuition and for me, it’s kind of like playing chess. While I am present in creating a tone or texture, I am thinking many moves ahead in the game. So I will make a mental note or jot down an idea on a piece of paper as to where I want to take things. Some of the things that I’m working on, really have no tempo. Meaning, that I’m not creating to a grid. That is the chaos element that I thrive on. Sometimes later on in the composition, a tempo will reveal itself in a feeling. Not so much in a strict sense but in a fluid manner. I can latch onto that to have the option of bringing in percussive elements if needed.

There’s something cinematic about your work I can’t help wondering what film composers or soundtracks inspire your work?

A: There are so many composers and creators that inspire me. To me, the way people speak and convey an idea is an influence in itself. Sometimes it’s the sounds that people make. I hear rhythms and tone inflection in the way that some people communicate verbally. Essentially, I am hearing speech in a musical way. Sometimes I am hearing only rhythm and tone. I can listen to somebody talking and hear it as music rather than a language if that makes any sense.  I have created some musical ideas based on that factor. I derived inspiration from a whole plethora of sources like this but not limited to this. To me, sounds and broadband frequencies from the lowest waves continuing on up into the ultra-high frequencies that become light are a fascinating influence.

In fact who are your current influences?

A: I guess I could answer this question by stating not who, but what are my current influences. I believe I’ve named a few already.

So what does the future hold? What are we to expect from your next phase of albums?

A: Well, I would say to expect the unexpected. Ha! I have been playing a lot more drums and percussion instruments as of late. There will be more vocalizing and I’m getting back into using my guitars a lot more. I will be integrating more field recordings into my works as well.

Finally, as you are always working with new artists can you recommend any work coming through Witch Ape Studios?

A: Everyone that I work with at the studio has a place in my heart and I don’t play favorites. So asking me if I would recommend any of the projects coming through the studio would be like asking a parent, who is your favorite child? Probably a bad analogy but you get the idea. I have an extensive list of musical projects that I have worked with over the years on my website. Some of these projects have links to their works. You can check some of them out here: 

https://www.taddoyle.com/witch-ape-studios-index/#our-clients

[uttersorcery]

M. Butterlfy interviews David K Frampton:

1. The following is very different to your usual output, how did that change come about?

I wanted to write and produce a record that explored my influences and loves in the world of electronic music..I also had a crisis of confidence with my singing so I wanted to remove that from the work process. I love making beats and this was a chance to put that up and centre. I was inspired a lot by Justin K Broadrick who is known for Godlfesh and Jesu but also records techno as JK Flesh. I think I learnt that it’s possible to have personality in your music without vocals and I wanted to reflect that…

2. You’ve often been described as an outsider musician, what does that mean to you?

I think it means that I am a little on the margins as a bipolar person practicing music. One of my albums Anxiety War was recorded in a psychiatric ward. I think in the past I have embraced the term more but as I get older I realise that we are all a little bit outside and a little bit inside too. I have a small lovely audience and Im happy with out. I think using the term outsider is sometimes helpful…it almost has romantic connotations, and sometimes it’s a bit of a pigeonhole.

3. You’ve been in the diy music scene since the mid 90s, how have things changed?

It’s always been about about just giving the music to someone and asking them to check it out…whether my early tape as Nukethrasher giving to a school friend or taking my latest Truck Pitch tape or 12” up to Fat Cat records or Ambient Soho in the west end in the 90s. Just getting people to pass it around and check it out. The network grows from there…and sometimes it fades and then grows again. The early Eyeless years in Oxford were just about that. The scene was very supportive and there was a lot of heart from it. I think with the dawn of Soundcloud and Bandcamp it was tempting to go digital but I felt I always wanted to share a physical object. When I moved to Brighton I quickly found that there was a great scene here too. The d.i.y thing to me is about sharing. I love that everyone can potentially release their albums with each other. I fully support it and love people creating and sharing in this way. I’m really into it.

4. What have you been listening to recently?

I’ve been listening to Immolation “Acts Of God”, Jenny Hval “Classic Objects” Mira Calix (r.i.p) “One On One” Denzel Curry “Melt My Eyez See Your Future” and Karl MV Waugh “Between My Weaknesses”…

5. Will there be a following part 2? What’s next for DKF?

I’m going to release a number of albums on streaming including the Following and Pain We’re In..plus I’m working on a mix tape called Music Is Water. I’m also working on an album with RDyer, Maz Clarke and Noemi K Yoza with Tad mixing.

I’d love to do a follow up to the Following! Maybe in 2 years xx

[uttersorcery]

M. Butterfly picks 5 song he wish he had written in preparation of his new tape on Eyeless:

The drones - shark fin blues

This song weds some of the most beautiful lyrics ever written on depression with some guitar riffs that still make me jump around my bedroom like a teenager. I particularly love Gareth liddiard’s description of sharks coming at him “fin by fin”.

Howling bells - blessed night

I had this on a free cd that came with the nme and it had such an impact on my 15 year old mind. Crushing guitars and of course Juanita’s angelic voice floating above them. I’ve always wanted to write something that kicks off as well as this does at the end.

Hank Williams - I’m so lonesome I could cry

Everyone’s heard this song but I don’t think as many people have really looked into the lyrics. It’s a really stunning set about just seeing sadness in the beauty of the world. I’d have the words to this etched into my back by that machine from that Kafka story.

Bonnie Prince billy - I see a darkness

“We’ll I hope that someday, buddy, we both have peace in our lives” is maybe my favourite thing ever written. I’ll never tire of this track.

Julee cruise - mysteries of love

This song manages to feel so timeless but so dated. Me and Angie used to cover this and we had to rearrange it for guitar but it worked so well. I’ve often told people it’s my favourite song because it has no vagueness to it. It’s about love but it’s also as raw and delicate as love is. Beautiful.

[uttersorcery]

Ingrid Plum top 5

This Friday The Portrait series from Eyeless Records is releasing. an exclusive live performance from sonic explorer and all round genius Ingrid Plum, here she shares for Utter Sorcery 5 of her favourite artists.

1.Roomfull of Teeth

I was floored by their eponymous album, the range of voices and different vocal techniques is astounding. The compositions travel through genres and really open up contemporary classical music to be uplifting and inspiring.

2. Jenny Hval

I swear Jenny Hval writes and sings about my life better than I ever can. She seems to elucidate the minutiae of life in a way that is like a tonic for the mind.

3. Yo La Tengo

Their blend of songs and improv is like getting a hug from your best friend.

4. Julianna Barwick

This is my sonic hiding place, she creates a little sanctuary of sound you can escape into.

5. Grouper

I'm always geeking out at her gear after her shows, I'm the nerd up the front trying to get a look at what she's using. I saw her show at the tin tabernacle in London a few years ago and it was one of the best shows of my life.

[uttersorcery]

My top twenty films of the year! For inspiration to watch over new year and Xmas break:

Film 2021

1. Power Of The Dog

Beautifully realised tale of masculine cruelty stunningly photographed and astutely performed.

2. Judas and the Black Messiah

Rousing and heartfelt story featuring a commanding central performance by acting genius Daniel Kaluuya.

3.Bruised

Halle Berry’s searing, visceral and crunchy directorial debut. Pulls no punches leading to a thrillingly bloody finale.

4. Wrath Of Man

Guy Richie’s fierce, brutal and ingenious heist movie. Played deadly straight and all the better for it.

5. Nomadland

Tear jerking meditation on humanity and America…Frances Macdormand delivers another genuine and real performance as the resolute drifter.

6. The Eternals

Chloe Zhao’s second film from this year an epic, emotionally conscious and powerful superhero epic so vast the Eternals may well have been fighting God.

7. No Time To Die

Gritty, enigmatic sensual…Bond had it all in arguably the finest bond since Craig arrived in Casino Royale.

8. Black Widow

Underated but hugely enjoyable swan song for the Avengers most human member. Introducing Florence Pugh’s Yelena a worthy, charismatic and dangerous successor to Black Widow.

9. Halloween Kills

So violent, so gory so brutal so fist pumpingly insane! It’s all about Michael Myers right? He doesn’t disappoint.

10. Candyman

Fiercely original sequel to the original less a reboot than a realisation based on the first….as socially conscious as you’d expect with added bite!

11. Zak Snyders Justice League

I thoroughly enjoyed Zack Snyders 4 hour epic leaving emotional space for all the Justice League to create motivation and real drama for the extravagant set pieces that link the movie.

12. Spiderman No Way Home

Like really sweet candy exciting, funny mind blowing in places. Everything you could have hoped for!

13. Palm Springs

My favourite comedy from 2021, gorgeous colourful sexy emotional silly dumb funny beautiful xx

14. The Suicide Squad

Colourful irreverent and ultra violent lots of fun too.

15. Psycho Goreman

Weird horror sci-fi hybrid that absolutely rocked!

16. Dune

Dense visionary epic delivered on its promise updating the original respectfully but added a new sensory intensity to it.

17 Sound Of Metal

Riz Ahmed is a gifted and brilliant actor…this film blew my mind and at times felt like a documentary it was so real and devastating too..

18 Censor

Woozy multilayered and flawless this British horror explored obsession and identity with excellent sound design and a great central performance by Niamh Algar.

19. Nobody

Bob Odenkirk does John Wick but with added cruelty, black humour and deadpan brutality. It’s got to be seen to be believed. It’s really good!

20. Old

Odd body horror with psychological terror elements too. Almost sci fi too but no spoilers…M Night Shymalan continues his recent creative roll x

[uttersorcery]

David K Frampton top 10 albums 2021!

This year I developed as a listener and as an artist. I became less concerned with notions of success and failure and more detached from current trends or movements. This was liberating as music and image are just tone and texture. It doesn’t matter how big, important, vital we are…Bandcamp has levelled the playing field and set artists free in the process. I have chosen ten of my most loved records of the year. A notable omission is the new Low album which in some ways requires it’s own dissertation as it might possibly be the greatest rock album of all time. I also omitted Eyeless releases as they would all have to be in there and that’s not fair on anybody else! So hope you enjoy my top ten of 2021….a painful and joyful year as any x

Melvins- Working with God

I’m kind of astonished by the Melvins..I feel I have a bit of a romance with their output and I’ve enjoyed their late career psychedelic leanings. There’s something complete about their albums..universes of sound..of “Beefheart metal” so they call it. You expect all the left hand turns and unpredictability that they bring to their heavy stew and yet they always come back to the joy of the riff and explore that totally within the context of each offering. Working With God reunited them with their original drummer Mike Dillard and they turned in an album back to back with hard hitters and good time humour. I hope they keep going forever!

Lorraine James- Reflections

Lorraine James really blew me away this year and I feel this album could be in most electronic music fans top ten…it’s got a cool feel to it like all the guest vocalists have locked into a certain zone a kind of delivery. I liked how bouncy it sounded and I also revelled in the texture of it and the emotional power too. Fantastic sleeve design to that captured the pure liquid electricity within.

Aya- I’m Hole

Relative newcomer Aya really caught my attention this year, at first I wasn’t sure what to make of this record as it blended drone, spoken word and urban styles with a real fluidity and depth of understanding. Before long this album was dancing regularly in my headphones as I lost myself in the 3D sound design and cracked broken grooves within. It’s an album to dive into with your eyes closed…discovering bliss.

Bloody Head- The Temple Pillars Dissolve Into The Clouds

I think along with Sweet Williams Bloody Head made the best Uk rock album of the year full of slidy Butthole Surfers influenced grooves and a kind of Amphetamine Reptile-esque (Cows/ Helmet/ Surgery/ Boss Hog) love of riffs and noise. That they come from Nottingham is even more great as something so home grown can create this much nihilist and huge sounding rock music. It’s worth tracking down the vinyl as each side feels like a narrative in it’s own right.

The Bug- Fire

A record soooo heavy it at times rivalled the likes of Godflesh for pure heady bludgeoning power…with Kevin Martin I feel my love has grown steadily for his music over the years..his classic London Zoo is one I’m fairly unfamiliar with however after his collaboration with Earth and last years ghostly, fluid Das Fig lp really switched me on….Fire was a connection of sorts a feral urban powerhouse communion of bass featuring black poetic luminaries such as Roger Robinson, Moor Mother and Flowdan…the album is utterly fearless and I’m super excited to see The Bug at Supersonic next year

God’s Teeth and the Interstellar Tropics

My favourite album of the year from my immediate community was without doubt the God’s Teeth record on Rosehill records…utterly entrancing propulsion of noise and drums and I’m sure many arcane sound making devices….it pulled my heart out as James Parsons rattling surging drums underpinned a sonic storm…a beautiful example of total immersion almost in a ritualistic way..powerful, unbroken spiralling upwards and inwards at the same time….

Good work!

Low Roar- Maybe Tomorrow

For some reason I really connected with this album this year. I had alot of depression and anxiety this year and this album just seemed to soothe me and calm me. The song “Captain” is my song of the year a stately elegant drifting electro-symphonic song. It made me come out in goosebumps and nearly cry every time the horns kicked in …the rest of the album joined the dots between space pop, electronica and neo-classical..a cerebral pudding of sound!

Serpentwithfeet - Deacon

The honeyed vocals and rich textures of Serpentwithfeet was pretty much my summer album and I believe the song “fellowship “ is so deep, uniting and beautiful that it deserves a noble peace prize. I was switched on by the video that celebrated queer, black love in a really accessible and open-armed way…..and the music in the album blends the perfect elements of pop ….technique, electronic sound design, gorgeous melodies and that voice! And made it their own. Just stunning xx

Fatima Al Quadari- Medieval Femme

You gotta kind of tumble into this music….her music demands attention but also a kind of drift a kind or suspension through space….the space between texture….and the beauty of melody. But above all there is a sense of the mysterious. There’s an enigma to this music, an emotional pull carries you away but you’re unsure why or where it’s leading x

Tirzah- Colourgrade

Tirzah’s first album Devotion was clearly a warm up to this, the main event which sees her pair down her sound to often just sparse beats and voice featuring production from Mica Levi, Kwes and Dean Blunt. It’s a beautiful document one that throws avant-garde shapes but remains truly accesible. Everything about this album is intimate and quiet yet somehow also really intense in it’s hushed delivery. It’s almost confounding and oblique yet for Tirzah’s gorgeous rich vocals that coat the deepest corners of the album.

[uttersorcery]

Peace For Old Ghosts top 5 records now!

In advance of Simon Shippeys new 6 track album “The Late Light” on Eyeless on Friday here are some aural delights he’s been checking out.

1. TIME NO CHANGES - Chris Schlarb and Chad Taylor.

This is an album of instrumental acoustic guitar and drums, with a few touches of deep synth drones underneath. It blends open tuned folk-rock guitar changes with jazz drums that occasionally break into an irresistible groove, with a conscious nod towards the albums of Sandy Bull, with it's undercurrent of modal improvisation. I love the space here, it comes across as a respectful conversation where both players are really listening and allowing each other the room to say what they want to say before responding. This album was recorded in a single session which is another idea I love, as I think these days we get too hung up on perfection, and that can iron out any personality for me. There's moments here where they may slip out of time with each other, but it just adds to the journey.

2. TOWNES VAN ZANDT - Townes Van Zandt.

Years ago when I told a friend I didn't really know Townes Van Zandt, despite having a deep love of country music, he gasped and said "Man, you GOTTA love Townes!", and years later I finally do. He's one of those songwriters that just make it seem so effortless, the words and music seem to just roll off his tongue and fingers, where there's no desperate reach for breaking boundaries, expression of the most heartfelt emotion is everything. I honestly believe every word he says comes straight from his soul, particulalry on "Waiting Around To Die", apparently the first song he wrote. There's a scene in the incredible documentary "Heartworn Highways" of him singing this song in his shack he shared with his girlfriend that is one of the saddest things I've ever seen. Their drinking partner looks on in tears, as the truth pours out of Townes... A longtime alcoholic and Heroin addict with Bipolar, Townes left us tragically early at 52 having written some of the most beautiful songs on record.

3. THROUGH THE LOOKING GLASS - Midori Takada.

This early 80s album by the Japanese minimalist composer is just mesmerizing to me. So much of this record has a Surreal quality to it, from the painting on the cover and the allusion to Alice in Wonderland, to it's evocation of a strange jungle filled with fantastical beats lurking in dark corners on "Mr Henri Rousseau's Dream". I get lost in this album every time I put it on, and every time the journey is different. You'll have to search this one on youtube or get the vinyl, as it's not on Spotify.. Some things are just too good to be listened to on your phone!

4. SPECIES - Bing and Ruth.

Another piece of minimalism to get lost in, this album is mostly just composer David Moore playing a Farfisa organ, letting the granular texture of the instrument do the heavy work, once again transporting me to a landscape where I lose all sense of time. The record sleeve shows the organ looking out to the canyon somewhere beautiful, and I can imagine him playing to the stars at night, losing himself in the immensity of the night sky.

5. PARANOID COCOON - Cotton Jones.

This album captures a 60s sound so well, full of reverbed drums, sleigh bells, lush organ and Lee Hazlewood guitar that when I first heard it I couldn't believe it was only 10 years old. There's such a great consistency of sound to this album, that once you're immersed in it, you know exactly what you're going to get, and while there are no huge suprises or diversions, the songs are good enough to wrap you in a warm duvet of gentle melancholy. Michael Nau is such an under-rated songwriter who I really admire and I wish he would come and play in the UK. Everytime I get too lost in soundscapes and minimalism, it's great to come across a songwriter who pulls things off with an effortless ease that's really inspiring. "I Am The Changer" the final song is so great, I could listen to it on loop all day!

[uttersorcery]

In advance of the eagerly awaited new album by Birdengine “SOMNAM” on Friday here are his 5 best albums specially for Utter Sorcery:

Lawry (Birdengine)

Here are five albums.

Leonard Cohen - Songs of Leonard Cohen (1967) Both my parents were big into Leonard and one of my earliest memories is listening to this (his debut) album with my Dad and looking at Leonard Cohen’s face on the cover. What a lyricist, what a voice and such original songwriting that takes the listener from light to dark so effortlessly. A good example of how expressive and rich a nylon-strung guitar can be and definitely a major influence that inspired me to pick up the classical guitar. His songs are completely timeless and he also seemed like such a warm and personable artist. I wish I'd seen him live. RIP Leonard.

Oneohtrix Point Never - Age Of (2018) Bendy saturated Midi Baroque harpsichord? Yes. Please. Oneohtrix Point Never aka Daniel Lopatin is an experimental electronic musician and producer I've been into for a while now. He's released a lot of albums, mostly sort of Eno/Budd-esque ambient instrumentals using synthetic sounds, but each one marks a distinct shift in style. 'Age Of' is no exception and the experimentation just keeps you wondering what’s happening next. He manages to avert categorisation like a few really great artists. Such an original producer and though I love the organic warmth of some electronic artists, OPN manages to embrace that cold, free VST, cheap-sounding, sterile inner world of computer production so uniquely. A lot of unorthodox sound design, samples and some really abrasive nasty-sounding synths. I could have happily chosen any OPN album prior to this (‘Replica’, ‘R Plus Seven’, ‘Garden of Delete’) but 'Age Of' is probably my favourite.

Portishead - Third (2008) This album is the business. I never really listened to the first two Portishead albums, I was never into trip-hop, I was just too busy listening to 'Modern Life is Rubbish' but holy cow, Portishead's third album is one beast of a ‘krautrock drumming, big warm synthy horror show’ album. The lyrics on this album are nicely ambiguous and Beth Gibbons sounds suitably harrowed. Lots of restrained guitar, as well as fat, analogue synth and minimal parts played all round. It reminds me of ‘Kid A’ as an album close to perfection for me. Again another band that drastically changed their sound, I do hope they make another one. I almost chose a Beak> album, which is Geoff Barrow, the member of Portishead who really drove this album's sound. They're also brilliant.

Nathan Fake - Blizzards (2020) Nathan Fake is an electronic producer who makes beautiful, warped, synthy, nostalgic techno. He has a real knack for melancholic, uplifting melodies and his production adds fuzzy layers of grit, hiss and saturation. His drum programming is also really impressive and totally unique. I listen to EDM when I run and I could easily have chosen James Holden, Luke Abbott, Rival Consoles or John Hopkins. There’s so much focus on production with these artists with real attention to detail. Fake sounds like he records his music on chewed-up tape. Blizzards came out last year and he doesn’t really mess around with this one, it’s driven by rhythms and beats over melody and so great to run to.

Frank Black - Teenager Of The Year (1994) What can I say about Frank Black? This album (his second solo album) comes after an outstanding body of work with Pixies and is perhaps a strange choice. This album is one of those albums that no-one else I know likes, at all. It's a long album, a double album I think. It’s very inventive and all over the place with a lot of different styles from heavy punk to extremely uncool/cool nineties synth accompaniment. I think I read that he used Midi sequencing for the first time on this album. I can’t remember why, but there was a period of time when I only listened to this album, maybe it was stuck in a CD player or something I don’t remember. When you listen to an album on repeat like that, even if you don’t like it, it seems to become part of your genetic makeup. But it really does have some great tracks on it, loads of different ideas and melodies constantly a bit like Sparks. It’s similar in style to the last two Pixies albums and Joey Santiago plays on a couple of tracks here too. Good stuff.