Artist: Graffiti Mechanism
Keywords: Graffiti Mechanism, Adam Crammond, Proc Records, 4m@, c4, Noise, Ambient, Abstract, Dark Ambient, Myst, Soundscapes, Score
Label: SP Net
Reviewer: Alex Spalding
After the last thing I reviewed, plus the depraved hours I’ve recently spent watching horrible videos on the internet, I really needed to listen to something abstract and contemplative. Something I could veg out to and perhaps lose myself in. Graffiti Mechanism’s album Drop-Out delivers. It also does take-out.
Graffiti Mechanism is Adam Crammond, who I’ve discovered runs 4m@ and Proc Records, only the latter of which had I ever heard of: until now. So I’m definitely going to have to dig around for more, clearly. I really enjoyed this album.
Track one is ‘How The Grass Grows‘. It’s melodic and alien, sounding like the soundtrack to a film about a fungal moss from another world eating people alive. If you played this for a person in a coma, I imagine they might begin to spore. Listening, I see green rooms in a laboratory, filled with jars of formaldehyde, embryos and strange plant pods bobbling around within. I imagine… puppetmastering an army of saplings or spuds. This is how I might take over the world. On a less Saturday night double-feature vibe, the harmonic dissonance of the bells in this track evoke a feeling of returning to the earth. In that way it’s also very womblike, if a bit bright for that; gestational. Playing this for plants in a green room or garden might induce mutational aberrations. I’ll have to leave myself a mental note to try this some time.
The second track, titled ‘Blueberry’, is very nice. This is more obviously spacey. There’s a feel to the track that reminds me of playing Metroid. One of the more fascinating sounds used is… almost very sonically close to a mandolin, with loads of delay, steely sounding strings pulled so tight you think they could almost snap. You become more and more drawn in to the subtle interplay of sounds. Their occasional dissonance creates intrigue. It’s a very entrancing ambient soundscape that the artist has created here.
‘Give’ is a siren-song. It’s deep swirl of textured bliss is a beacon that will lead us away from the world we currently reside within. It says, “Leave your husk shell body and embrace the limitless.” It can be hard to maintain whether we are being lead into an aurora borealis or a micro-organismic goo. Is it possible they are one and the same? The perception doesn’t matter, all can be beauty. Or horror.
Finally, ‘Monkey-Bars’ ends the album. It begins with a bouncy sort of electronic conga sound, reverberations of it disappear quickly into the ether. More, higher intonations of a similar sound come in, followed by sine-tones. The effect is almost tribal, but it’s judiciously edited and reserved. It finishes things nicely, on a slightly more rhythmic note than previous tracks dared, making the whole work feel complete and satisfying.
What I like about ambient music of this kind is that it’s perfect when you’re wanting to get introspective or to gaze astonished at our big, wide external world. Ambient soundscapes remind of both the microcosm and the macrocosm. This album, taken in it’s entirety, is very abstract, unmenacing but sinister or internally disturbing somehow nonetheless. It’s in the way, you might say, that human reason tends to shrink in the face of the bizarre, natural world, while simultaneously being fascinated by it. We couldn’t be comfortable with prolonged exposure to the world of molds, if the workings of that world were to replace the law of ours. The ontology of mold is what frightens us. It’s a carnal, indiscriminate force in which life and death are intricately twixt one another, barely possessed of consciousness. The world this album exalts is a world most find easiest to explore only if mediated by unmanned space shuttle or nano-cam. Furthermore, as it only clocks in at about 33:13, there’s no good reason not to give it a playthrough. I would recommend it to anyone who enjoys ambient music or soundscaping… so here’s the link: