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CHARLES HAYWARD, "SWITCH ON WAR"
Sub Rosa
Conceived as a response to the worldwide media coverage of the first Gulf War in 1991, Switch On Warwas Charles Hayward's attempt to create a harsh, anti-musical statementthat would serve as an antidote to the barrage of media distortion anddisturbingly hypocrisies being promulgated by the government andmilitary. Binaurally recorded live in a deserted London morgue, Haywardnever expected the album to last longer than a year, as it was intendedto reflect the anger and sadness over those then-current events.Paradoxically, some 13 years on, this music seems more topical thanever, with George W. Bush's bloodier sequel to the Gulf War stillraging on and the media ever more complacent and contradictory. Switch On War is subtitled Music for the Ongoing Theatre of War,a name that seems like it could have been lifted directly from thepolitically charged, anti-government lyrical screeds of This Heat, theseminal post-punk experimental group that Charles Hayward co-founded in1978. Hayward uses pretty much the same arsenal here as he did withThis Heat (and Gong, Quiet Sun, Camberwell Now and Coil); live andsynthetic percussion, augmented by layers of distortion and harsh tapeloops. The sound is immediately reminiscent of the industrialagitations of Throbbing Gristle, SPK and Einstürzende Neubauten,guaranteeing that it will be an extremely trying listen for most.Sheets of unpleasant distortion and ear-canal vibrating drones shiftsubtly along with Hayward's mechanical rhythms, scrupulously avoidingmelody in favor of abstract dot-matrix patterns that emerge overextended periods of time. At the start of "Crying Shame," Haywardshrieks a series of razor-sharp provocations: "Drive a sadmaninsane/Need a badman to blame/Oceans of flame/Reign of terror/Bone-dryterrain." His harshly synthetic soundworld evokes the arid dessert asseen through ultramodern infrared night-vision cameras, the landscapereduced to muddled electron midnight-greens and blues. Sudden swoops ofreverberating mechanical rhythms and ear-ringing treble tones signalthe dropping of bombs from aircraft, with fiber-optic cameras on theend of missiles tracing their descent down through the night sky andinto aspirin factories and impoverished public housing buildings.Hayward frequently utilizes the electronic bleeptones and repetitive,simplistic melodies reminiscent of video arcade games, drawing aparallel between spotty teenagers playing out shoot-'em-up fantasieswith their joysticks, and post-pubescent soldiers destroying the worldwith their high-tech gadgets and weaponry. Switch On War is a powerful aesthetic statement of brutally urgent relevance.
Conceived as a response to the worldwide media coverage of the first Gulf War in 1991, Switch On Warwas Charles Hayward's attempt to create a harsh, anti-musical statementthat would serve as an antidote to the barrage of media distortion anddisturbingly hypocrisies being promulgated by the government andmilitary. Binaurally recorded live in a deserted London morgue, Haywardnever expected the album to last longer than a year, as it was intendedto reflect the anger and sadness over those then-current events.Paradoxically, some 13 years on, this music seems more topical thanever, with George W. Bush's bloodier sequel to the Gulf War stillraging on and the media ever more complacent and contradictory. Switch On War is subtitled Music for the Ongoing Theatre of War,a name that seems like it could have been lifted directly from thepolitically charged, anti-government lyrical screeds of This Heat, theseminal post-punk experimental group that Charles Hayward co-founded in1978. Hayward uses pretty much the same arsenal here as he did withThis Heat (and Gong, Quiet Sun, Camberwell Now and Coil); live andsynthetic percussion, augmented by layers of distortion and harsh tapeloops. The sound is immediately reminiscent of the industrialagitations of Throbbing Gristle, SPK and Einstürzende Neubauten,guaranteeing that it will be an extremely trying listen for most.Sheets of unpleasant distortion and ear-canal vibrating drones shiftsubtly along with Hayward's mechanical rhythms, scrupulously avoidingmelody in favor of abstract dot-matrix patterns that emerge overextended periods of time. At the start of "Crying Shame," Haywardshrieks a series of razor-sharp provocations: "Drive a sadmaninsane/Need a badman to blame/Oceans of flame/Reign of terror/Bone-dryterrain." His harshly synthetic soundworld evokes the arid dessert asseen through ultramodern infrared night-vision cameras, the landscapereduced to muddled electron midnight-greens and blues. Sudden swoops ofreverberating mechanical rhythms and ear-ringing treble tones signalthe dropping of bombs from aircraft, with fiber-optic cameras on theend of missiles tracing their descent down through the night sky andinto aspirin factories and impoverished public housing buildings.Hayward frequently utilizes the electronic bleeptones and repetitive,simplistic melodies reminiscent of video arcade games, drawing aparallel between spotty teenagers playing out shoot-'em-up fantasieswith their joysticks, and post-pubescent soldiers destroying the worldwith their high-tech gadgets and weaponry. Switch On War is a powerful aesthetic statement of brutally urgent relevance.
