It is with an apocalyptic feeling of anticipation that we await for the activation of the Large Hadron Collider at CERN in Geneva. Of course our puny brains cannot even start to elucidate the sort of physics involved in the experiments that are to be conducted there, so we have decided to think about all these portentous matters drawing on our readings on the arguably relevant fields of science fiction, video games and horror films. According to these sources, we should expect some sort of catastrophe resulting in the invasion of our planet by alien species from other dimensions (get your crowbars ready), the discovery of a parallel realm where the philotic connections underlying physical and spiritual reality lie, together with the mysteries of faster than light speed travel, or the arrival of hell to Earth, you know, lots of men pulling their eyes out and reciting mantras in latin.
All of these alternatives sound more desirable than the current state of affairs, so we do eagerly invite our laboratory coat clad stern overlords to pull that lever so that our species can achieve transcendence, either shining stronger than a budding supernova, or exploding in a gross mess of blood and viscera.
Bosons like to party you know, and whenever they have a ball it is Ron Geesin’s music that soundtracks the majestic ballet of their integer spin across infinite distances, derviches of the atomic realm in constant transmogrification between quantum states, or little dots blipping in a computerised brain to the ultra-abstract equivalent of acid house pumping psychedelia, jacking the spaces between spaces is where it’s at kids of the dance revolution.
These days it would seem like a trivial matter to input a few Bose-Einstein statistics in your music generator software to come up with microscopic symphonies of alien beauty to rival Black Dice’s outer space transmissions, but kid, Electrosounds was made in 1972, this synthetic sorcerer had all this stuff in HIS HEAD! He rules!
If worse comes to pass, and the activation of the Large Hadron Collider creates a micro black hole gateway between our world and outer dimensions of chaos and madness inhabited by Azazoth and his brethren, don’t bother trying to convince me to accompany you to the closest refuge, walls covered with scribblings of primeval signs, the holy ritual of the exorcism and the triforce, nay, I shall be in my room listening to the malevolent sounds of Steve Moore as the sky fills with bat-winged snakes, and thick and bristling pseudopodia cover the asphalt of the streets below like a black tide of simmering evil.
David Rubato’s new 12” on Institubes is rather banging, particularly the Aeroplane and Steve Moore remixes. Regarding the latter, you do of course know that the sinister mind behind the forever astonishing Zombi and the new shining star of Satanic italo grace Lovelock is perhaps the most accomplished apprentice of the dark lords Carpenter and Goblin, so you should be aware of what lurks beyond as you press play in your stereo: music to soundtrack the corridors of an abandoned hospital basement scenario of nameless experiments, music to soundtrack batallions of clouds of impossible colours advancing over the barren landscape of a mercifully forgotten nightmare, music to dance to as you spin in the carousel of the damned, beautiful death funk wiggling with a bassline that sounds like a bag full of human bones being shaken by Johnny Jewel’s and Asenath Derby Waite’s secret daughter, music that makes us smile eerily, momma always used to say we were a bit weird.