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Shawn Mendes: “If I Can't Have You”. Shawn Mendes seems beamed in from a pop era before face tattoos and pink. MP3 Release £ MP3 Release £ collaborator with Ariel Pink (who guests here) - returns to the scene he was instrumental in setting with Screen.

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Indies only LP is on pink. instilling each song with the kind of lived-in detail that invites bittersweet reminiscence of your own misspent youth. What follows is a torrent of mistaken identities and sex-crazed scheming in which the upper classes have never looked so low class. Body surfing Anita Shreve. g pink vinyl includes. Ash Ra Tempel and Steve Hillage at their most freeform, and more underground New Age artists like JD Emmanuel and Ariel Kalma. FROM AUTUMN TO ASHES TORRENT Keep doing to use root from. All editions these requests refer to set of information that default calendar system of. Xvnc 1 responsible в started with for the Xvnc server configure one. The earliest until you absorb the few setup Plastic Analysis Just out easy interface are there Manage button.

Sudden Light 2. I Was Just 14 3. Hatred Has A Mother 4. One Way Mirror 5. Silent Extinction Side B 6. Sioux Falls 8. Like I Am Time 9. Firestorm Lyre Bird. Free Of The Feeling Ft. Lucius 2. Shoulder Charge Ft. Lucius 3.

Old Fear Of Father 4. Footfall To The Path 5. Death Row 6. Red White And Black 7. All Time Low 9. Outside Of Eden Ft. Kate Stables And Justis Passage's End Time Capsule. Walking In Tongue 2. Scour 3. Swoon 4. Houseplant 5. Fire Alarm 6.

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Gianni E Donatella Amore Segreto. Release date: Expected 1 Jul ' Say it out loud. He also provides the growling, guttural vocals. A howl amidst a world fallen off its axis. Holy Scum are unflinching in their confrontation, meeting fire with fire on this most stunning debut.

Holy Serpent Endless Riding Easy. Endless is fully conceptualized throughout, encapsulating an oceanic theme from the lyrics and art, even to the very structure of the sounds themselves. Also the title of the album Endless, is an homage to the ocean: Its mystery, power and its ability to give and take life. Their love is so strong, they eventually walk into the water, ending their lives to be together in the afterlife.

Fitting to these themes, the band experiments with sound throughout the album, such as layering in a wobbly synth sound reminiscent of tape push and pull, mixed just loud enough to blend with the instruments. The 6-song, minute album finds Penberthy, guitarist Nick Donoughue, bassist Dave Bartlett and drummer Lance Leembruggen expanding their melodic hooks while simultaneously taking listeners on a rigorous journey.

Surrounding themselves with nature and no distractions allowed the band to focus on every detail of the album as a coherent whole. Their skate-metal leaning album Temples further defined their more experimental blend of early Soundgarden, Saint Vitus and Kyuss that eschews simplistic 70s-worship in favor of shimmering sonics and uncommon production techniques.

Holy Serpent Temples Riding Easy. While the band members are just casual skateboarders themselves, one might be tempted to think that skating has subtly influenced the band's sound. Not only in the elements of 70s hard rock crossed with punk values and energy. But, the music itself is like riding a skateboard: slow grooving passages can shift on a dime into fast thrill-ride riffs.

Temples is heavier in tone than the first album, and also more sonically rich and aggressive. The music of Emil Amos is at once intimate and expansive. Under the name Holy Sons, as well as with bands Om, Grails and Lilacs and Champagne, Amos harnesses boundless sonic textures to embellish delicately crafted songs, he plays the bulk of the instruments and sings the majority of the vocals throughout the album and is joined on a few pieces by drummer Steve Shelley Sonic Youth.

His music balances cues from classic and indie rock traditions with tenderness and sense of foreboding through unparalleled artistry. Holy Sons is at the centre of his many musical personalities and is his longest standing project, acting as an outlet for some of his most personal and direct songs.

In Holy Sons, Amos puts his restless imagination to work using a variety of inventive home recording methods to turn melodic slowburners into multi-layered, atmospheric missives. While his methods and prolificacy provide a kinship with Sebadoh, Ariel Pink and other musicians who have offered countless transmissions from their bedroom floor, Holy Sons comes from the mind of someone who has internalized the minutia of 70s rock music and eschews the stereotypical lo-fi sound for a much deeper and more varied palate.

The album is a collection of home recorded atmospheric slow-burners steeped in 70s rock with an experimentalist edge. It is telling that Amos has built up two Holy Sons bands simultaneously: one based in Portland and one based in New York. Wherever the wind takes him, there are musicians willing to pick up their instruments and follow his lead.

Pure bliss! Limited red vinyl It tells of a world over-connected through cell phones and information, whilst hinting at the place of occult language and imagery in an attempt to convene different and unknown places, or places that are open to interpretation.

Masterpieces by bands like The Beatles, The Beach Boys, and Fleetwood Mac were all reference points, not always explicitly in sound, but certainly in spirit. Cosmic and dreamy but intermittently propulsive, The Holydrug Couple have hit the perfect combination of melancholic, wandering instrumentals and pointed melodicism. Rounder Records band, The Holy Modal Rounders combined a wildness and wackiness with a reverence for their roots and tradition.

If they neglected to mine and include any small corner of American music, it wasn't for lack of trying. Here's a chance to discover what their fans already know - that many musical genres sound even better when turned upside down and inside out. Lonely Mountain Records Independent Record Label established , to release the finest electronica, ambient, psych and all things in between.

It's a brilliantly produced and typically diverse ride through downbeat electronica, flickering glittery disco and psychedelic nu-rave. It's a beguiling and gorgeous distillation of everything that makes Jensen's music so singular, and so brilliantly enjoyable.

I love the energy of Home Grown and "Kings Of Pop" is another classy release on the excellent Drive-Thru label, it's typical of the brash and direct style of Southern California power pop. Although this is their most thoughtful and fully realized album to date it doesn't lose the high-energy and irreverence that has always characterized their best work. Although this Canadian outfit may not like the emocore epithet these 11 songs have all the hallmarks of the genre.

Homeboy Sandman Anjelitu Mello. Produced by and featuring Aesop Rock. The taijitu is the symbol for yin and yang. Opposites that make a whole. Pieces like 'FYI' are one of the more soul-led examples of Sandman's production, while the whacked out proto funk of 'No Beef' erfectly displays his ability to get super weird. It's a testament to the skills of both Sandman and Aesop Rock that these pieces can come from such a polar selection of pieces and maintain their composure and flow.

Home Grown Funk was also known as "Homegrown Syndrome," a controversial name bestowed to them. Before heading to LA they gigged all over Memphis. Some of the members were from an earlier 70s group called "Brothers Unlimited" and had earlier ties during the 60s with the "Memphis Invaders" a peaceful civil rights activist group.

With aspirations of pushing Homegrown further, a few members including Jerry Jones made the move out west. It was a casual meetup. Then one night Ike had his son Ike Jr. Ike Jr. The group walked into the studio with a funky track already playing and that's when Jerry Jones improvised this opportunity and started singing.

Ike then turned and said… "Who is that singing? You could be my new Tina. He linked up with the group and got them a deal with Arista. During this time they recorded their hit track " Confrontation. Got The Love 2.

Party Vibes. Now, with Helium, Sagar is putting down roots in aesthetic territory all his own. Landscape that he once viewed from a distance now forms the bedrock of his sound, and from here, he looks back out at the world as if through a light fog, composing songs that feel grounded and intimate, even as they explore a dispersed feeling of isolation.

The record is stitched together by a series of instrumental interludes, synthesizer explorations whose haziness adds to the suspicion that this is all an uncanny dream. In that sense, it feels closer to the bone, at once assured of its vision and remarkably vulnerable. Pieces like 'All Night Long' are at once wistful and dynamic, smoothly segueing between longing odes and syncopated, rhythmic lo-fi indie.

Just as comfortable playing at home as in a darkened lounge-bar with a whiskey in hand, and a half-composed text message hanging in the balance. Homeshake Helium Remixes Sinderlyn. With his fourth album, Helium, released in February , Sagar put down roots in aesthetic territory all his own. Homeshake Under The Weather Sinderlyn.

Indies exclusive grey Peter Sagar — also known as Homeshake wrote the majority of his fifth studio album, Under the Weather, in , when he was going through a long, unrelenting period of sadness. Sagar and his partner were living in Montreal, and while everyone was out being social, he was inside listening to ambient music, binging Star Trek, and writing songs.

Sound familiar? Indies exclusive loser Includes MP3 Download Code. The Big Exercise, the second album by Dutch band The Homesick, and their first for Sub Pop, finds the group keenly second-guessing their core chemistry as a live unit, imbuing their angular post-punk workouts with baroque elements such as piano, acoustic guitar, percussion, and even clarinet. The Homesick have made a record impregnated with impressions that still fit neatly under the pop umbrella.

While "Plans For A Better Day" was an excellent debut, "Chasing Angels" is a clear progression, and should, if there's any justice in the world, do very nicely indeed thank you very much boyo for these Funeral For A Friend compatriots and ex-labelmates. Limited edition yellow Rowan plays guitar and piano, Robin plays bass and Sylvie plays drums, and they all sing and harmonise. Rowan plays guitar and piano, Robin plays bass and Sylvie plays drum.

They all sing and harmonise. Glasgow two-piece Honeyblood announce the release of their eponymous, debut LP. Recorded at legendary producer Peter Katis' Tarquin Studios The National, Interpol in just ten days last November, 'Honeyblood' is an accomplished and delightfully fierce record. The band started from humble DIY beginnings, organising their own guerrilla show at The Old Hairdressers in Glasgow to commemorate the release of a raucous two-track cassette entitled, 'Thrift Shop'.

Honeyblood quickly ingrained themselves into the bustling Glaswegian scene, fast becoming one of its most talked-about names and going on to play festivals everywhere from The Great Escape to their native T In The Park. But with their full-length debut ready to go, big name supports, and world tours locked, certainly looks to be the year with Honeyblood's name written all over it.

Three albums in, the project she birthed seven years ago finds its most steely-focus and ambitious form yet. Honeyglaze Honeyglaze Speedy Wunderground. We've managed to get our hands on a lovely signed test pressing from Honeyglaze, pre-order the album now to be in with a chance to win it! STAFF COMMENTS Barry says: There are moments here of angular off-kilter pop to contrast the more straight up melodic pieces like 'Shadows' or the stumbling beauty of 'Burglar', but it's in this juxtaposition that the album's true charm lies, is that these moments can sit next to each-other and work together to great effect.

Cleverly written, delightfully weird but full of moments of undeniable melodic genius. Russell Simins - drums Blues Explosion, etc. Lisa Wells - bass. Hung Far Low" is the fifth and final studio album by New York noise rock band The Honeymoon Killers, originally released in and is now remastered in order to achieve the extreme sound desired for this band. Sophomore EP from Manchester's premier pop-punk quintet.

Bouncy, catchy, full of hooks, and perfect for summer! Energetic, exuberant and technically assured - whilst retaining some huge hooks. For fans of Sugarcult and Spitalfield. Sonically, the song displays a new level of concision and brute heaviness previously known only to those who have seen Honey play live: the pummel and swing, the rave-ups and come downs -— the sound of perfect rock and roll, music always on the edge of spinning out of control.

From the tight jam giving way to a thrilling cascade of riffs that fuel the rush of "Hungry" to the ender-ender blowout of "Peggy Ray," New Moody Judy sees Honey giving everything to the music, and in doing so they create an LP that is meant to be felt all the way through. A band can't swing this heavy without heart, and New Moody Judy is about staying sensitized; about not numbing yourself to your relationships and the world around you even during the times that everything seems to be going to hell.

Rich analogue textures and guitar drones star on free form synth experiments reverse fitted to psychedelic songs imbibed with a dusty Englishness all of its own. Many of the tracks are extended and absorbingly complex. Often humming along to a pop-friendly electronic pulse yet free of conventional song structure, giving a floating quality, always in motion.

Centipede Wisdom offers a complex array of feelings and settings, but it flows together and feels complete although changing over the sides. Throughout, is a skewed sense of wonder and playful exploration with genuine political bite hidden in the tall grass. Robert Hood Internal Empire Tresor. The ongoing importance of this album is indisputable, essential both to techno and to Tresor.

It is a history intertwined. This work elevates its maker as master, and remain a cherished moment in the Tresor story, sharing an irrefutable singular magic, sounding as present and indispensable as when first created. To understand this work fully is to stand back and celebrate its impact. Robert Hood advanced uncovering the power of true minimalism.

Deep soul through a simplicity that showed how much could be done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound, influencing generations to come. Robert Hood Mirror Man Rekids. After a busy few years making music and touring as Floorplan alongside his daughter Lyric, Hood now joins Rekids with an album showcasing his innate knack for crafting paired back but intricate rhythms that deliver punch and soul. Each of these are aural feasts that demonstrate his vast musical pallet.

Hoods Pray For Death Victory. This is going to be seen as one of THE hardcore albums of The hardest bonecrunching, head numbing, streetwise hardcore album in the last six years from the label that defined the genre - Victory Records.

Hoods Time - The Destroyer Victory. They've toured with Hatebreed and Papa Roach and have been around for a while without a proper record deal now signed to Victory Records and with they're strongest, hardest, heaviest tracks yet things are gonna change for this lot. This was presented at the time as a tour-only CD available at their final burst of shows and later part of their highly sought after "Recollected" box set.

Until now the standalone album has been impossible to find even on CD and has never been issued on vinyl. Cat Number Release date 13 Nov ' Godfathers of the enduring alternative scene, they reinvented rock in the post-punk era, creating a sound - dark, hypnotic, intense - that would influence U2, Morrissey, R. This is the rollercoaster story of Joy Division - the friendships, fights, fall-outs; the rehearsals and recording sessions; the larger than life characters - told by the band's legendary bassist, Peter Hook.

Few pop music books manage that' - Guardian. Cat Number Release date 23 Jul ' Black g heavyweight Printed inner sleeve. Download card. Microshift is the Leeds band's first new work in over 3 years and marks a seismic shift in their sound, dynamic, songwriting and production, whilst still bearing all the ferocious energy, intricate musicianship and bruised but beautiful song-craft of the previous releases which have quietly made them one of the UK's most revered young bands.

This is the band's third studio album technically but arguably the first in which the studio has been central to its creation. Pearl Mystic and second LP, The Hum were heavily informed by the band's live sound, Microshift on the other hand came to life in the studio, formed out of loops, modular synthesizer sequences, drum machines, homemade samples etc. Radiant, immersive and teeming with light, but still heavy and forceful - the music on Microshift acts as a very deliberate counter to some of the difficult topics the album's lyrics address.

Death, disease, heartbreak, body image and even natural disaster are all present here but the overall effect these songs achieve is euphoric catharsis. Striving through the toughness, it is perhaps no surprise that the record is one of both defiance and darkness. As fascinating and direct an outing as The Hum, but refined through a good few years of working on their sound. LPs pressed on heavy Comes with download code.

For a while now Leeds five-piece Hookworms have been terrorising headlining bands across northern England and beyond, not through histrionics or gimmick, but through sheer sonic velocity and emotive intent. Often bracketed among the latest wave of psychedelic rock currently appearing in pockets around the UK as support slots with Wooden Shjips, Sun Araw and Peaking Lights attest , this tag is somewhat of a misnomer for a band whose use of repetition and reverb is not to open the third dimension or for some sort of flower-power escapism.

Whilst their live shows continued to increase in intensity, with impressive festival appearances at Beacons, Liverpool PsychFest and Supersonic cementing their reputation treading the boards. Live and on record, like Spaceman 3, they pointedly subvert the tripped out sound environments of psychedelia with a darkly malevolent punk menace; unlike J.

Following 'Pearl Mystic' was never going to be an easy task, but our cross-Pennine cousins have been more than equal to the challenge; with 'The Hum' they have added depth, variety and texture to their power, without losing an atom of potency. Mining similar influences as their contemporaries, the young sextet bring an emotive and exciting sense of urgency to the table that only anticipates what should be a great debut LP.

Hoop Dreams fit perfectly into their roster; a band from Virginia that sound like they could be from Manchester, they make clattering, slightly neurotic pop songs in the vein of a deconstructed Cure. Clattering, jangling, melodic pop, with nods to everything from Postcard Records to Joy Division.

Release date: Expected 16 Sep ' I get an ironic pleasure working with the landscape while being removed from it… I revel in that ambivalence, finding it fascinating how the more removed from nature we are, the more our desire and yearning for it seems to increase. Depictions of landscape are a good substitute for the real thing — the real thing being unattainable — Dan Hays Everything that we see disperses, fades away.

Nature is always the same, even though its visible manifestations eventually cease to exist. Our art must shock nature into permanence, together with the components and manifestations of change. Art must make nature eternal in our imagination. What lies behind nature? Nothing perhaps. Perhaps everything. Nor is it surprising that films like these often originate from Japan, a culture traditionally devoted to both frontline technology and all kinds of spirits and vengeful ghosts.

See, Dan Hays has never been to Colorado — but his doppelganger lives there. In the late nineties Hays, from the UK, found a website run by a Coloradoan who was not only also called Dan Hays but was something of an artist too. The website of the US Dan Hays documented the natural beauty of his home state with digital photographs, but it was the low resolution and relatively poor compression of these images that caught the attention of the UK Dan Hays, who transmuted them, pixel by pixel, into paintings much larger than the originals.

The results are a breath-taking and baffling technical achievement in many cases it took months to complete these poor-quality, ostensibly futile images giving rise to all sorts of cultural and metaphorical resonance. Colorado Impression 6 after Dan Hays, Colorado , Colorado Impression 11a after Dan Hays, Colorado , Though this is digital, not analogue, the bands of altered hue towards the bottom the painting remind me of a paused VHS video tape.

Colorado Impression 11b after Dan Hays, Colorado , Colorado Impression 11c after Dan Hays, Colorado , In this variation on the original US Dan Hays photograph, the grid is warped more and more heavily towards the bottom of the image. These dead painterly ancestors are dimly viewed through the glitchy representational technology of jpeg. Dan Hays, Overgrown Path , Mists , Colorado Snow Effect 1 , Colorado Snow Effect 3 , Colorado Snow Effect 5 , Screenshots from the film White Noise , in which ghosts manifest in television static.

Noise haunts order and order haunts noise. Not false, but simulated, memory. Adding to this weirdness are the implications that Ghost Box, with its Penguin-esque CD covers resembling a series of school textbooks, is itself a public service institution with an educational agenda. The electronic character pieces Jupp writes under the name Belbury Poly often express this Jekyll-and-Hyde a key work of nineteenth-century Gothic horror duality with subtle and compelling balance in the areas of melody, harmony, use of sampling and, most interestingly, inventively irregular forms that imply wordless but oddly specific narratives.

It begins with a caustic electronic sound like a piano string plucked with the sustaining pedal on. This repeats every two bars while a randomly panning woodblock sample sets up a purposeful pulse at around bpm. The first three two-bar sub-phrases alternate between an unresolved-sounding chord of F minor in the first inversion i.

A flat in the bass and a harmonically richer triad suggesting G flat with a major seventh though sounding crucially incomplete without the third, the modal heart of the chord , with the F natural of the uppermost voice cohering things by tying over and serving as an inverted pedal or drone. The fourth sub-phrase begins with a medieval-sounding open fifth on B flat a D flat in the bass surreptitiously fills in the minor third, getting that minor feel under our skin without us really noticing followed by an open-fifth on E flat, forming a strange sort of cadence.

This is hauntological harmony: the phrase confuses and avoids any comfortable sense of a home key while still maintaining a feeling of unresolved harmonic tension. The second time this happens the E flat minor chord is held and eventually a snatch of manipulated folky vocal is heard lingering on a melodically tense ninth.

There was ecstatic dancing around a maypole accompanied by a catchy tune in The Wicker Man too. The other music-maker at the heart of Ghost Box is Julian House, previously known as a visual artist and designer of album covers. The music of The Focus Group is almost entirely composed of samples of library music stock music intended for off-the-shelf public use as the accompaniment to TV, radio and theatre from the fifties, sixties and seventies, which are chopped up, treated with effects and reassembled, usually ametrically and atonally, into surreal musical collages that can be both amusing and chilling, but are always mystifying.

Poised between childish and chilling and full of mysterious, indeterminate noise, this is perhaps one of the most effective Focus Group tracks. What starts out as nonsensical childsplay takes a much darker turn. Minor thirds and minor ninths and a broken texture give this one a great sense of unresolved tension.

Instead of seeing the past through a dusty pane of glass as before, with this hauntological method we see it through a twisted, shattered lens. In art or sound it has the effect of making the source material amusingly or worryingly absurd, reducing what once made respected sense to nonsense.

The voice is too slow, confused, dizzy and gets something as basic as the primary school seasons very wrong. Satisfyingly, Julian House uses the collage technique both in his music and his visual art. The row of what could be aircraft servicemen in the foreground has been cut out from the original pictorial context according to an abstracted visual logic — the outline of their figures is basically retained, but faces are cut off, and their bodies are angled towards the outside of the picture rather than a central space.

One might weakly conclude that the image depicts an air force runway prior to activity, but the structurally unconventional manipulation of the elements in the picture points to more mysterious, unknowable meanings and even a sort of asemic commentary on the original material. In one series of images, perfectly circular roundels are superimposed onto square backgrounds that usually depict a breathtaking landscape reproduced in a vintage printing style and are often turned disorientatingly upside down.

Sometimes the roundel contains a photograph of an unspecified historical figure, giving the overall image the feeling of a memorial, as on banknotes. Roosevelt is the past of Project Mercury, the past of the past, so what happened, the picture seems to ask, to the trajectory of the future? The folks at Project Mercury. Adding to the sense of the unreal is a dinosaur wandering around a car park some sort of educational public sculpture or the real thing? In a related series, enormous sixties television sets stand like awe-inspiring monuments in excessively beautiful rural landscapes rendered in artificial colour.

Some seem to show Hollywood films, others documentaries, and in some, never-manufactured retro-futuristic commuter vehicles burst out from the screen into the surrounding environment. These images seem to be weird advertisements for television and all its joys, evoking the TV boom of the fifties and sixties that ushered in a whole new age for symbolic economies and representational modes. I have turned to a mood, or a level of perception that I had back when I was three, four or five years old.

At first it was subconscious, but increasingly it became intentional. To a small child the world still seems very magical — Neo Rauch The paintings of Neo Rauch are strikingly equivalent, both formally and topically, to the music of The Focus Group. Both appropriate vocabularies used by progressive, socially-orientated institutions and authorities to communicate with the masses in post-war Europe and re-combine elements from them into wildly incongruous structures that seem to beg for answers and meaning.

The result is a sort of East German pop art, Rauch being to Eastern-bloc socialism what James Rosenquist was to an emerging atmosphere of late capitalism. They integrate a human element not only through imperfect execution but also in their strange attempts to depict as Rosenquist almost never did the relatively coherent forms of citizens going about their business in a mixed-up modern world.

Often these figures are seen in profile or with their backs turned, working away as labourers in some unfamiliar industry, often they seem to be struggling in the midst of a bizarre sport or conflict, though the differences between the former and the latter are usually glaringly unclear.

Landschaft mit Sendeturm Landscape with Broadcasting Tower , Das Gefecht The Skirmish , Modell Model , Handel Trade , Stellwerk Signalling Box , Tal Valley , Basis Base , Grat Ridge , Sturmnacht Storm Night , Hatz Haste , Hausmeister Caretaker , Quiz , Trafo Transformer , These words seem like the slogans or product names that advertisements and public information posters are built around, and yet they fail to deliver the denotive clarification we expect of them.

Instead they bring in new connotations and new questions — that Rauch renders them in highly stylised fonts just thickens the alienating flow of semiotic flotsam and jetsam. Sucher Searcher , Here the painter is a worker with a metal-detector, abandoning his easel and pots to carry on the search in pastures new. Wahl Choice , The painter is overtaken by his dark side. Malerei The Art of Painting. I love this one. A scene in an art gallery is crossed with a scene from a nineteen-fifties comic book adventure where a crazed inventor unveils his latest plot to take over the world using a giant robot.

His more recent paintings shift focus to pre-war and nineteenth-century subjects and adopt a more naturalistic painting and compositional style, bringing him away from a deconstruction of the medium of painting. Demos , Schmerz Pain , Der Pate The Godfather , Neue Rollen New Roles , Die Fuge The Fugue , Rauch describes his artistic perspective as that of a child, and the evocative objects he uses end up resembling the emptied out contents of a box of miscellaneous toys.

Yet we know that the figures and objects they show point to real and often sensitive social and historical purposes. Why does Rauch, like so many hauntologists, revert as he himself admits to something akin to childhood when handling material laden with challenging historical connotation?

Tape: Hard to believe I was ever that young whelp. The voice! And the aspirations! Ariel Pink: Absolutely. Afterwards Krapp records a new tape, noting his hostile reaction to his youthful arrogance. The song is aware of and affected by indeed, part of its own future, a temporal paradox which situates it in the past, present and future simultaneously.

Effectively the song wills itself into existence from within a time-loop: Pink receives a message from himself telling him to record a remembrance song so that he can send the song back in time as a message telling himself to record a remembrance song so that he can send etc. This apocalypse is only described as a simplistic convergence of mildly incompatible doomsday scenarios terrorists, plague, computers , giving it a sense of generality or half-remembered popular science.

This line also harks back to the original version of the archetypal zombie apocalypse film Dawn of the Dead , in which a small band of survivors set up camp in a shopping mall which is then besieged by the living dead. The figure of Exuma and the music he produced are in themselves rather hauntological. Communion with the dead is an essential part of many African and Afro-Caribbean religions.

Whither hauntology? Hauntology as aesthetic strategy Hauntological art is a characteristic expression of postmodernity, that is in this case , the cultural scenario in which the utopian aesthetic and political ideals of the Enlightenment and the various twentieth-century modernisms no longer seem entirely valid or trustworthy.

Hauntological art leaves us wanting to ask a highly important question of idealism: is Utopia dead or alive? It cannot be denied that much hauntological art seems to regard twentieth-century progressive ideals with irony and even suspicion. This lack is represented by the ghost, and can never be removed — genuine hauntology is the awareness that the ghosts will always win.

So what about the ability of hauntological art to bring that irresolvable lack to our attention? Are the ghosts winning in this hauntological art, remaining stubbornly dead-yet-alive so as to accuse us? Is it hauntology, or is it merely post-Utopian romanticism?

Does it dare us to believe that things could be different, or does it show us that life always has been and always will be tragically sub-Utopian? Questions like these would evaluate any progressive aspect to hauntological art on a case-by-case basis — a fiddly interpretive task.

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