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Where "18'6"" shows shades of Consumer Electronics for me, this one is more Sutcliffe Jügend, specifically the later stuff. Which is funny, because I only got into Tomkins' work years after I assembled this monstrosity. Not that I was unaware of the grottier end of industrial music; quite to the contrary, the sounds of Current 93 and Throbbing Gristle were definitely on my mind. The Dead C's more abstract material, too, "Bury (Refutatio Omnium Haeresium)" et al, given the vibe and production approach.

All in all, I'm not sure what to make of this one. It's maybe the most Autosuggestion thing here, heavily sampling the soundcheck from our World Café Live performance—the only one which we played with our erstwhile female vocalist/percussionist, to my knowledge; she was a cool older friend of ours who had better things to do—and featuring a lot of weird fragments which went on to show up briefly in the very eccentric collage piece "Happy Happy Happy Happy". Yet it's also much more overtly horrific than anything we did together: More in line with what I wished we were at the time than what we actually were.

The title came from either a mystery novel I was reading or a police procedural I had seen, where it was used rather sardonically to refer to an unidentified corpse encased in concrete. That it made a grisly counterpoint to a favourite band of mine and my father's, Concrete Blonde, only made it better.

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from Ghost Musick for Ghost People One: From the Ruins of the Cathedral of Erotic Misery, released February 11, 2017

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Silence and Secrecy Pennsylvania

Purveyor of fine musical curios, grotesques and arabesques since 1 January 2014. Mostly just one weirdo in a literal attic.

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