Organum 'Submission' (Complacency, 1994)

It is albums like these that define music for me, and define what the Scrapyard Forecast strives to document. David Jackman has been crafting his minimal metallic dronescapes since the early 80's, way before this stuff was even gaining interest among the underground and decades before the current influx of DIY drone projects that seem to come a dime a dozen these days, making it very difficult to wade through the mediocre, of which there is plenty. Jackman's backlog is extensive to say the least, but if it's possible to get, you'll most likely eventually see it on this blog. He is one of my all-time favourite musicians.



This CD version was released in 94 on Dan Burke's (Illusion of Safety) Complacency label and is actually a reissue of the LP from 1988. Both are OOP but I managed to snag this at the Helen Scarsdale garage sale, along with the CD version of Sumac and an old Troum tape. Needless to say, I was stoked. Most of the more desirable titles have been snatched up, but there is still some great stuff available. View the items here.

The list of contributors for Submission reads like this: David Jackman, Andrew Chalk, Steven Stapleton and Dinah Jane Rowe. Had they have asked the likes of Jonathan Coleclough and Colin Potter to join, the list would read somewhat like a who's who of the late 80's/early 90's UK drone scene. The music that was being produced at that place and time never seizes to amaze, and I've made it a personal goal to collect as much as possible from a time and place that was busting at the seams with experimental genius.

Clocking in at a modest 37 minutes,
Submission treads similar paths as older Organum work- Horri and Crux come to mind, but with Chalk's keen hand and Stapleton's production ingenuity, the album summons the likes of space and time infusing these tactile compositions with a listful patience.

The first track,
Cowl, is a 6 minute offering of densely layered metal scrapings (Always note worthy), bowed cymbals and fluttering Japanese flute drenched in the mix. The track crawls along eventually giving way to the harsher, drone heavy The Expelled, a short but sweet track, sounding like jet planes soaring over a post-apocalyptic sky as mountains crumble in the distance, very reminiscent of older Organum material. Submission, the third track, is the clearest example of Chalk's involvement, and my personal favourite. It sounds very low-fi and warm, birds chirp in the distance as... something... like a golf club maybe, is whipped through the air. All the while random objects get tossed about as a very slow, elongated metal scrape relentlessly plows forth. You can also make out an engine being revved from far away, most likely from a Kawasaki KH400 or one of the other various bikes that Jackman used to own. Actually, a lot of the sounds from 'Tower of Silence' can be traced back to Jackman's motorcycles. Renunciate, the fourth and final track is the longest and although probably the most minimal seems to incorporate a wide range of sound sources: metal, bells, flute, voice/breath and probably a bunch of indiscernible things. A very good track and an appropriate close to this brilliant album. As with anything by David Jackman, this is highly recommended listening.


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