Dark, droning, ambient… I found this when I typed “trip-hop” into a torrent search field, and I’m damn glad I found it. Very evocative stuff. Stuff like this would fit perfectly in a Silent Hill game. In fact, if these guys had taken over composition for Akira Yamaoka, I’d be completely OK with that. So, you know, maybe don’t play this for a Sunday picnic, but do play it during a long night drive on mostly vacant roads. This is only their second album, but they’ve only put out two with the exception of a few singles. I’m not as conversant on their debut as I am on this one, but I fully intend to be at some point soon. Aside from the topic of this album, writing this blog entry got me to visit these guys’ website for the first time. Check out this piece of writing I discovered right on the homepage:
“By any measure, we live in an extraordinary and extreme time. Language can no longer describe the world in which we live. With antique ideas and old formulas, we continue to describe a world that is no longer present. In this loss of language, the word gives way to the image as the ‘language’ of exchange, in which critical thought disappears to a diabolic regime of conformity – the hyper-real, the omnipresent image. Language, real place gives way to numerical code, the real virtual; metaphor to metamorphosis; body to disembodiment; natural to supernatural; many to one. Mystery disappears, replaced by the illusion of certainty in technological perfection. Technology, acceleration do not affect our way of living – they are our new and comprehensive host of life, the environment of living itself. It is not the effect of technology on the environment, culture, economy, religion, etc., but rather that all these categories exist in technology.
In this sense, technology is the new nature. The living environment, old nature, is replaced by a manufactured milieu, an engineered host – synthetic nature. In a real sense, we are off planet, dwelling on a lunar surface of stone, cement, asphalt, glass, steel and plastics, engulfed in the atmosphere of electromagnetic vibrations – the soothing lullaby of the machine. The common notion tells us that technology is neutral, that we can use it for either good or bad. We do not use technology, we live technology; technology is our way of life. Being sensate entities, we become our environment – we become what we see, what we hear, what we eat, what we smell, what we touch. Where doubt is prohibited, we become, without question, the environment we live in.
With our origins based in the natural order, should this context radically change, the mysterious nature of the human being shall also radically change – a change that will reflect the transformation of nature itself, at a turning point or vanishing point. Natural diversity becomes a burnt offering, sacrificed to the infinite appetite of technological homogenization. We now live the fiction of science. We are now, not in some remote future, cyborgs. We are at one with our environment – we are technology. In this wonderland, freedom becomes the pursuit of our technological happiness. Our standard of living is predicated on commodity consumption, as the shibboleth of the new religion is ‘pray for more.’ In vehicles of ecstasy, with cinematic engines of inertia at audiovisual speed, trans-port and tele-port blend into one. The beginning becomes the end. The port disappears in the speed of light. The nanosecond (one billionth of an ‘old second’), technological speed, transforms reality as it creates an ecstatic phenomena of compelling and unparalleled intensity.
By human measure, charismatic technique portends the miraculous, as it engenders the condition of ‘exit velocity’ – a condition that blurs human perceptions, shatters all meanings, drains all content and breaks our bonds to earth. All locations are subsumed into the startling terra firma of the image, a demonic conformity that is the genesis of massman. In the shadow of the mass, all previous definitions crumble, The ‘time’ and ‘space’ of history exit to an homogenized zone of no return. In this supernatural implosion of g-force, human moorings give way, sending humans out-of-orbit into the void of technological space. The accompanying loss of original habitat and our subsequent relocation into accelerated space throws nature into catastrophe, as it engenders traumatic stress syndrome as the now normal condition of post-human existence.
Technique, while promising comfort and happiness, means power, means control, means conformity, means destiny. Technology creates a condition of war that is at once universal and unseen. The explosive tempo of technology is war; the untellable violence of relocation in technology is war. All of us are refugees driven from our human state.”
Pretty cool stuff, right? Pphh, yeah, as if anyone actually read all that. Anyway, check out the album.
Teargas & Plateglass are a band who produce electronica, dark ambient, drone music with accompanying videos.
|Teargas & Plateglass|
|Genres||Electronica, Dark Ambient,Drone_Music|
|Years active||2001 to Present|
The American Film Institute, which exhibited their music videos in 2008, called them “a bold experimental vision”. URB said the band “pave the way so the dark side can take its rightful place at the forefront of the genre”. XLR8R described their sound as “darkness mixed thick like a pool of blood” and advised listeners to “take with a stiff glass of Absinthe”. Danger Mouse likened their music to “the end of the world”. King Britt noted that “their music restores my faith that deep, dark music still moves the masses”.
The band released an eponymous album in 2001, then in 2004 performed unannounced eastern European shows under the names Septagon, Undecagon, Duodecagon, Enneacontagon, and Hecatommyriagon.
To compliment the visceral music, the text inside the CD booklet was penned by the filmmaker Godfrey Reggio of Koyaanisqatsi fame.
Three music videos were produced for the album and debuted at the 2007 American Film Institute Festival, which called the band ‘a bold experimental vision’
Two Teargas & Plateglass songs were used for trailers for the movie X-Men: The Last Stand. The song “Plague Burial” was used for the theatrical trailer, and the song “Book of Black Valentines” was used for the non-theatrical trailer. “Plague Burial” was also used in the trailer for Beowulf (2007). Several songs have been heard in CSI, CSI New York and CSI Miami. The song “a uniquely hostile place” was used in the Steven Spielberg produced television show The United States of Tara (Showtime).
- Teargas & Plateglass (album). Self-titled album released in 2004. Now out of print.
- Black Triage (album). Released 2007.
- One Day Across The Valley / Behold a Sea of Ills So Vast (10″). Released 2008.
- Plague Burial / Simplify this Landscape with Darkness (10″). Released 2008.
- A Uniquely Hostile Place (7″). Released 2011.