Currently writing a piece for another site, exploring how the mainstream’s rejection of musical invention has liberated musicians and audiences alike from such ephemeral and unrewarding pursuits as fad, image and superficiality. That whilst the charts have wilfully become a ghetto, pandering to a lowest common denominator aesthetic, the records not aimed at pre-teens or the deaf have become unencumbered by the demands of fashion, or the need to gain favour from a music press long given over to irrelevance. That we’re encouraged to think for ourselves rather than sit dependent upon those who think they know better for our opinions. That rigid adherence to one sub-genre or another – “I only listen to shoegaze; I only play break beat” – is no longer valid, such is the degree that contemporary records draw in influence and mood from a range of different sources.
Okay… it’s a complex argument, and not one I’m sure I’ve grasped in its entirety. Either way, there are many, many records that come to mind when illustrating such an obviously concussed point, including Jane Weaver’s 2014 LP The Silver Globe – from which ‘The Electric Mountain’ hangs, neatly eluding both categorization and vogue.
This isn’t immediate. The elongated intro sees to that, half a minute or so that unfolds, the enticement a vague threat, like that dream you had where they left you all alone in the gallery of modern art, only to be stalked through corridors by something never seen.
And having taken its time to reveal itself – even then there’s something just out of reach. A track built around ‘Star Cannibal’ by Hawkwind, the keyboard motifs and bass loops are borrowed wholesale. Borrowed, but also routed through an entirely different context by the vocal. Weaver’s voice carries cold warmth, all intrigue and intuition; “You’re so, you’re so insincere, the illusion you created was firmly here.” There’s beauty here, but it’s not straight forward in its attraction; instead, there’s something both haunting and assertive in the folds (did I sit here last night on the third bottle of wine, hitting repeat? Possibly). The entire album’s a delight, characterised by charged particles, but this track more so. Just don’t attempt to pigeon hole.