One of my favourite acts of the late 90s was Dave Pearce’s Flying Saucer Attack, whose eerie, folky, bedroom-shoegaze was the template for a lot of what I did with w/trem. FSA had what I call a “complete” aesthetic, which is perhaps unintentionally recalled by the recent Indie game The Rapture Is Here And You Will Be Forcibly Removed From Your Home: reality is breaking down (isn’t it always?), black ships are eating the sky, you might as well give yourself up to it as a shimmering heat-haze consumes everything. Musically, the rule is: let the artifacts consume the signal. Multitrack until the hiss takes over; turn up the feedback on the delay pedal until “ringing” resonant tones start to emerge from the fuzz. It’s an approach to the constraints of low-tech recording that makes a virtue of necessity, of not having Kevin Shields’s budget to blow. FSA probably softened me up for Xasthur, which Simon Reynolds once described as sounding like Robin Guthrie “doing warm up licks on his guitar and FX rig, hampered by the world’s most disabling migraine”. A major point of continuity between w/trem and Spiral Jacobs is that I’ve had the same shit microphone for about 16 years.
Anyway, here’s a tune that cleaves quite closely to the FSA palette in some respects, although it’s brighter and more drum-heavy than they usually were. It’s one of the instrumental interludes from Speaks Your Weight.