ATTRITION – The Pillar I (For Ossington)
A video by Martin Bowes.
Footage of Vancorvid taken from the ATTRITION show at Rivoli, Toronto by Kolicko Strychnine.
Footage of Elisa taken in Mexico by H.F. Mino
The Pillar I was recorded, mixed and mastered by Martin Bowes at The Cage Studios, Coventry, England. 2019.
For a long time i’ve wanted to start making videos for my music…
i’ve never had time…. and then… now i have a little…
With the help of friends and collaborators VANCORVID and Elisa Day i have finished my first video…
for The Pillar I….the B-side of the new ATTRITION single…
and here it is…
Martin Bowes: All electronics and samples
Elisa Day: Voices @Ameyali Escobar, soprano
Vancorvid: Violins https://vancorvid.com
Available on CD single, download and Streaming…
From the upcoming ATTRITION album… The Black Maria
ATTRITION shows in support of The Great Derailer have been postponed because of the current Corona virus situation…
So far we are looking at….
South American tour – Postponed to June 2021
August 20th– Feketa Zaj festival, Hungary
August 30th – Infest festival, UK
Sept 18th – The Tin, Coventry, UK
Sept 25th – tbc. Manchester, UK
November 28th: Winter Ghosts Symposium, Whitby, UK
December 5th – Face Bar, Reading, UK
‘The Great Derailer’ c/w ‘The Pillar I (for Ossington)’
When asked about their dark art Joy Division said they were influenced by their post-industrial surroundings. I wonder if Coventry’s oppressive brutalist architecture had a similar effect on Attrition’s Martin Bowes because he’s been unsettling listeners for 40 years by illuminating the dark recesses of the human psyche with flickering candlelight. To mark Attrition’s fourth decade this new two track EP is released to highlight the bands Licht und Blindheit.
Opening with a spectral wail, a piece of electronic voice phenomena, as if recorded at a séance and counterpointed by ice cold tinkering keys that stand stark, the title track is a truly disconcerting piece of music. The arrival of an upbeat central bassline, which in itself is very catchy, but it is the smorgasbord of sounds that swirl around, like apparitions circling an Ouija, that give ‘The Great Derailer’ its sinister feel. Voices are taken out of context, like a musical cut and paste, and their meanings are changed and thus they take on more indistinct and suggestive tones. Best listened through headphones it’s a multilayered affair, with Martin scrawling sound on every available surface as it swarms to the point of overload as different aspects are brought forward and then foregrounded.
This EP can be viewed as different sides of the same coin as ‘The Pillar I (for Ossington)’ takes a more dark ambient approach. Sorrowful viola and a voice like a female hazzan almost cries against a backdrop of a cattle train rattling into the distance. It’s a track that breathes as it ululates with the voice that ebbs and flows. A discombobulating, cinematic soundscape the images it creates will be personal to you but to my mind it draws parallels to the Holocaust and positions the track somewhere between Steve Reich’s ‘Different Trains’ and the Swans ‘Soundtracks for the Blind’.
Attrition are not always a comfortable listen but they’re always rewarding. Embrace the darkness…
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