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OST [SLP017], the staggering solo debut from British musician Caroline Haines, AKA Chaines, gathers studio realisations of three commissions completed since 2013’s SPLIT, with Tom Rose. Though written for specific occasions, the pieces are united by a sense of uneasy melodrama, and hallucinogenic flow.
Lead cut ‘OST’ is a 20-minute epic written in collaboration with visual artist Mary Stark (vocals) where cartoonish, Rammstein-style aggression, plaintive guitar lines, and clunking glitch form an impish portrait of the UK’s north-eastern industry. But ‘OST’ is also a sincere love-letter to analogue film, with plush orchestral samples, and Stark’s disembodied voice tenderly blooming from the rubble.
'OST'’s remaining works frame its centrepiece. ‘Here’ - written for Laurie Tompkins’ 2013 Handy tour - is a whistled ode to twilight inebriation, accompanied by faint keys, revving cars, and Badalamenti synths. On ‘I Found This’, Chaines’ warbled melodies merge with Oliver Coates’ muted cello, offset by tickling percussion and recorder chorales. Though OST operates in a place entirely its own, it is perhaps best compared with the work of similarly iconoclastic contemporaries such as Elysia Crampton, Mica Levi, and Dean Blunt.
1. Here - 5:052. OST1 - 7:243. OST2 - 3:154. OST3 - 10:045. I Found This - 5:44
Mastered by Rupert Clervaux
Chaines - OST
'Ample Profanity' is composer Laurie Tompkins and cellist Oliver Coates' collaborative debut: coagulated gristle surfacing from a Beal, Brooklyn-brown, Ray V, Bangs, GAN, Rugs and Works acid bath. The EP collects 5 pieces composed by Laurie and then co-edited and performed with Olly. The former plays keys, tape player, and samples, the latter cello with effects. Both sing.
Here is grazed, contorted classicism, here post-binge hallucinations, here gunky funk.
"I met [Laurie] when I was 16, at school. I don’t know where along the way he’s found that he can make a piece out of flower pots and shouting, and it can be genuinely moving. With Laurie, there’s this thing with Netflix culture and tropes in the promotion of electronic dance music. Like, “you must all listen to footwork now” because they market that at you. Ample Profanity is all about awkward juxtapositions: bits of music from House Of Cards coupled with RP Boo. That’s the headspace he’s in and he’s trying to articulate these as cello rhythms. I find that really satisfying. It looks really spidery and architectural on the page. You’ve got to repeat it 17 times and then shout the next thing, so it’s absurdly difficult to play. To play it physically, the energy of playing it, that’s why I do it." - Oliver Coates, The Wire, September 2018.
Laurie Tompkins / vocals, keys, tape player, samples
Oliver Coates / vocals, cello, effects
--- Mastered by Giuseppe Ielasi. Artwork by Laurie Tompkins and Suze Whaites.
Laurie & Olly - Ample Profanity