Spaceape (left) and Kode9. Click here to view flickr.

Atmospheres 2: Hauntology Now
Monday 12th May 2008
Museum of Garden History, Lambeth Palace Road, London

Part of the Atmospheres festival organised by South London's Touch label which saw four days of accessible, experimental music within the humble confines of Lambeth's Museum of Garden History. The night before saw Fennesz twatting the sound system for all its worth. But tonight was more concerned with subtlety, immersion and apparitions.

As a collective term, Hauntology has great potency and potential. Besides the myriad of ideas that it possesses based on concepts of time (historical) and space (locations and events). Musically it can be quite an interesting thing in itself, appealing to the likes of me due to its kinship with dub music. But with labels like Ghost Box and artists like Burial summoning spirits on recent work, it seems there's enough momentum to examine this further.

Sadly things didn't get off to a good start when The Caretaker failed to show up due to illness. His extensive discography has meant he's been at the forefront of examining how artificial degradation of old music can be an artform in itself. So it was left up to Kode 9 and Spaceape to rattle the cobwebs. Their lengthy set was on the whole impressive, opening with a layered wash of fuzz, static and industrial-grade dub. Fragmented snippets of mobile phone conversations and pirate radio were inspired and the use of sub-bass seemed uncontrollable and deadly. Settling itself in amongst the concrete, stone and marble.

But the temptation to avoid lapsing into dubstep proved too great and when it did arrive, I quickly found myself losing interest. Where rhythm was previously undefined and subject to change, now took on a more familiar shape. And it became clear that Spaceape was clearly running out of things to say. It would have been better for him to ease off the chatter occasionally to help amplify some of Kode 9's incredible detail.

Philip Jeck's set was nothing short of magnificent though. His uplifting repertoire of fanfares, chimes and bells that featured so heavily on his recent album 'Sand' filled every crevice and arch with sound. The unique acoustics of the high structure proving to be the perfect amplifier. As night drew and artificial street light streamed in via the windows, the interior became less defined. Visually narrating Jeck's turntablist alchemy.