Telepathic Heights

Chronique

James McKeown launched his Hawksmoor project with a self-titled 2018 full-length which explored the cartographic connections between six churches in London bearing esoteric symbols. He's continued releasing albums inspired by dream research and the occult, usually described as imaginary soundtracks and fitting in with the hauntological realm of the Ghost Box label. Telepathic Heights is his first album to be released by London's Soul Jazz Records, and both its packaging and content are reminiscent of the label's essential Deutsche Elektronische Musik compilation series. McKeown evokes Krautrock and kosmische music from the 1970s, zoning in on the hypnotic qualities of his Moog Sub 37 and analog drum machines. The tracks have simple, often flanged-out electronic pulsations for rhythms, along with shimmering, glowing synth arpeggios. The title cut has a dubby echo trailing the beats, as well as expansive guitar vistas. "Athanasia" is far more of a guitar-based space rock meditation, coming closer to Popol Vuh than Cluster. Pieces like "Nuclear Kites" sound like they're played in real time rather than rigidly programmed, and the human imperfections add a sense of vulnerability, as if an astronaut is excited to be going on an important mission but can't help feeling a bit nervous or apprehensive. For the most part, though, the album is curious and even whimsical rather than reflective and serious. It clearly sounds like McKeown is having a blast building progressive synth melodies and figuring out how to attach spooky echo effects to puttering drum machines. Telepathic Heights is an intriguing and successful effort rooted in multiple schools of otherworldly electronic exploration.
© Paul Simpson /TiVo