17 Oct 2017
Tanizaki - Archaeology
Reviewed by Nathan Ford
Where Tanizaki's first EP "Ouroboros"(which I raved about here) was all subdued synth menace and wobbly beats, the new EP "Archaeology" makes extensive use of acoustic guitar to capture the same atmosphere of disquiet. Granted, there have been several releases since "Ouroboros" that I haven't heard, so I'm missing a few evolutionary steps, nonetheless the change here is startlingly impressive.
It's not totally unheard of for acoustic guitars to be used in the hauntology genre - both The Advisory Circle and Belbury Poly have dabbled and used them for colouring before - but it's unusual to hear them given such prominence. There's long been a relationship between pagan folk music and hauntology and it's addressed very nicely here. Tanizaki describes it best when he calls his music 'weird nature music', a description that could be taken a number of ways but conjures a very specific sound in my mind, almost a hauntological 'thin wild mercury sound'.
Tanizaki is really doing a service to the genre by pushing the boundaries of what can be defined as hauntology here. While it's often viewed as a branch of electronica, I've heard correlations in the more natural instrumentation of artists like Wyrdstone, Sproatly Smith and the Rowan Amber Mill that give me the same nostalgic rush as Ghost Box's more celebrated artists. The "Year in the Country" series can also be thanked for illustrating this relationship on their excellent compilations.
"Archaelogy" successfully strips back the keyboards, which now provide a subtle supporting role and focuses on lovely, pastoral acoustic guitar that evoke memories of Summerisle, with snatches of field recordings adding further textural colour.
The haunting arpeggios of "Dumnonia" make for an arresting opener, but best of all is "Crane Dance" where the guitars and vintage synths engage in a moody sensuous dance, effortlessly and inseperably entwined.
Lovely stuff, available as a name your price download here: