The Ghost: The Hole
Tombed Visions (2016)
I know next to nothing about The Ghost. I stumbled across a review in Tristian Bath’s consistently top-notch Spool’s Out column in The Quietus, which opened with a quote from Tombed Visions, the label that released this cassette: “This is the new Queer improv and it is unreal how fucking good it is.”
New Queer improv? I’m in!
This 40 minute avant-jazz freak out ain’t for the faint hearted. It’s restless and abrasive, and even its quietest moments are angry as hell, which is perfectly justified against an opening monologue warning that homosexuals will destroy the fabric of society. The Hole was released pre-Trump, but listening to it now this piece of 1950s propaganda supporting a white, Christian, heterosexual patriarchy strikes home harder than ever. Its fear mongering message could be applied to any group bearing the label of ‘Other’ – black, muslim, female, the list goes on….
Perhaps my favourite thing about The Hole is that you rarely hear such abrasive, experimental music being made by Queer artists. The scrunching sax, collapsing drum kit and junkyard rubble are a far cry from the spandex and mirrorball cheese of most ‘gay’ music. There is absolutely nothing Camp about The Ghost, nothing sexual either. Even Harsh Wall Noise artist Richard Ramirez, perhaps The Ghost’s closest sonic relative, cultivates a Tom of Finland aesthetic drenched in cheap thrills.
I realise I’ve done little to describe the actual sound of this tape, and to be honest I’m not sure sound is the main point of this release, but as a sonic reference point The Hole calls to mind Sun Ra’s wildest freak outs minus the funk. I’m reminded of the Art Ensemble of Chicago as well, but way, way heavier. The muscular Saxophone work of Mats Gustafsson is also present, without his sense of groove. The Ghost combine all of these references into violent cauldron of political revolt. And their protest is absolutely thrilling to listen to.