Milanese experimental imprint Haunter have just dropped the powerhouse of a compilation, Forever. The release sees contributions from a who’s who of Haunter friends and family including ssaliva, ZULI, Kinlaw and Rennick Bell.
Curated by label founders Daniele Guerrini and Francesco Birsa Alessandri, alongside visual artist Nicola Tirabasso, it spans a huge 33 tracks, taking in work from artists spanning the label’s six year history.
We caught up with a selection of those involved to give us the background on their inputs. Read on below.
VISIO – ‘Landslide’
‘Landslide’ is a hymn to teenage angst spirits and elusive nostalgias.
A song-collage made by arrangements on my acoustic guitar and by blockbuster’s sampling, overdriving the track into an intimate sphere of adoration and illusion.
ZULI – ‘Vector Cloak’
Honestly, this track came from an old WIP of mine that Florian (Broshuda) heard me play in a live set then took the stems for and made something actually good enough to be on this compilation. Not sure I have anything poetic to say about it.
“Halfway up Mount Danyama on Teshima Island, 400 wind chimes hang from the trees of a forest, fluttering in the breeze…” fucking hell, really wish I could write like that about my music lol.
Ausschuss – ‘Loose Unit’
The title comes from my friend Sarah, the original loose unit, and tries to match her energy. I made this track in a very cold studio last winter, wearing two pairs of socks.
Kinlaw – ‘Port Tropiq’
“WINSPIT” – channeling quarry raves from the depths of the cavernous caves on the south coast, overlooking the channel. The shards of ceiling dripping with electricity and nostalgic punk rhythms of growing up smelling of cider, stabs, stabs and whirling rock movements, pillars of stone. A short haul over the fields booky soundsystem in tow.”
NOUMENO – ‘Words Are only Places To Hide, And I No Longer Intend To Hide’
I made this track during a nightly insomniac recording session at home on headphones. In the following days Sense Fracture wrote the lyrics, and we recorded his vocal contribution in the studio at Macao.
This song is a tribute to the unsaid, the undone, and the impossible. Most sounds in it have been recorded within an environment that would let the unexpected emerge, and set its own rules over and through its human intermediary.
S S S S – ‘Dualistic Dead Ends’
I got approached by Dan (Haunter Records) for this project on a rather short notice. I recorded “Dualistic Dead Ends” a day late to the deadline so I’m happy it still made it onto the comp.
I wanted to create something fast-paced without it referring/resembling too much of the obvious breakbeats or jungle-patterns. The basic framework came together almost instantly while jamming on a Machinedrum. However, I fooled around a lot with the dynamics and spatiality of the sounds which took up most of the time. I assume that a lot of electronic music nowadays is heavily sample based and I think this has lead to a certain normative aesthetic of loudness in its production. I guess I had this thought in the back of my mind while mixing the tune.
PS: I blatantly stole the title from George Zarkadakis book In Our Own Image
Katatonic Silentio – ‘Eerie’
A software-only made track, Eerie could be seen as an introspective path made of granular synthesis, tension atmospheres and processed echoes. A slow beginning, an interrupted structure which stops and restarts with pressing but hypnotic rhythm, supported by some flat pointillist melodies and sounds’ spatiality.
Weightausend – ‘Ceaseless Collateral’
I spent a few days collecting pools of old discarded drum breaks, putting them into folders and building an algorithm which would randomly play and time-stretch the samples by itself, and grouping them following their sound similarities. The result was surprisingly aggressive, and the rest of the track was composed following the self-built main drum structure: the harmonic elements were scripted to make it sound like a bleeding, robotic creature assaulted from the percussive mess. The title refers to continuous damaging coming from broken relationships.
Sense Fracture – ‘Crime as Poetry’
This track has been spawned by my obsession with combining the mood and timbre of trap with speedcore. I tried to use the common trap lead to give more of a sense of melodrama: my tracks have always this kind of awkwardly operatic feel to them, it’s one of the components of my music that i like the most. The drum beat comes from an older track that i discarded, which played at a more “standard” gabba tempo of 180bpm. By slowing it down and giving it more space, it allowed me to toy around with accents and pauses, something i modeled after the rhythms of traditional folk music from the south-east coast of Italy, namely Salterello Marchigiano and Pizzica. That influence is something I’ve been trying to integrate more and more into my music lately.
The title was inspired by Hakim Bey and a bunch of old anarchist mottos: “If rulers refuse to consider poems as crimes, then someone must commit crimes that serve the function of poetry, or texts that possess the resonance of terrorism. ”
Heith – ‘Suspicious Activities’
I wrote suspicious activities while I was collaborating with Puce Mary and Francesco Leali on the cello composition we released together. An Exploitative Version Of Surrogacy.
It means unfamiliar changes to critical settings, unauthorized activity, unusual activity, unsettling situation , feeling of non-belonging , Eliciting information, Observation/surveillance.
I think there is a real connection between these feelings in life and what society force us to believe in.
Forever is out now on Haunter Records.
Buy it here.