The Brooklyn-based audio-visual artist Luke Wyatt aka Torn Hawk has – like Jahilliya Fields, who also is a part of this year’s program – published on the trendsetting record company L.I.E.S. (Long Island Electrical Systems). It tells us a lot about the company and its musical width that an artist like Wyatt creates his guitar-influenced lo-fi-collages inside their walls – but of course it tells us something about Wyatt’s music as well, ever since L.I.E.S chose to publish it.

If everyone had not already forgotten the term “chillwave”, Torn Hawks would be a great example on that genre when it’s best, because of his worn out nostalgic adaptations of the 80s- and 90s’ ringing VHS-sound with a thick inspiration collected from the film media. Drum machines, which sounds like they came from the neighbour, constitutes the essence in a music, which floats aesthetic and breaks unexpectedly, with layers of guitar-noise, cheesy synth work, melancholic melodies and a general backward use of substandard sound pictures.

His spherical and particular mixture of effect – coated, resounding guitar figures and exhausted beats presents itself as a fragmented crossoverbetween half washed out memories and references – like nostalgia in a gritty blur.

 

 

Den Brooklyn-baserede audio-visuelle kunstner Luke Wyatt aka Torn Hawk har – ligesom Jahilliya Fields, der også er at finde på årets program – udgivet på det toneangivende pladeselskab L.I.E.S. (Long Island Electrical Systems). Det siger en del om selskabets musikalske udsyn og bredde, at Wyatt sender sine guitarprægede lo-fi-collager ud herfra – men det siger naturligvis også meget om Wyatts musik, at netop L.I.E.S. har valgt at udgive den.

Hvis alle ikke allerede havde glemt betegnelsen chillwave, så kunne Torn Hawks nedslidt nostalgiske bearbejdninger af 80’er- og 90’er-klingende VHS-lyd med tyk inspiration fra filmmediet godt henregnes til et eksempel på genren når den er bedst. Trommemaskiner der lyder som om de kom fra nabolejligheden udgør grundstammen i en musik der svæver æterisk og knækker uventet, med lag af guitarstøj, cheesy syntharbejde, melankolske melodier og en generelt tilbageskuende anvendelse af obskure og underlødige lydbilleder.

Hans sfæriske og særegne blanding af effektbelagt, ekkoende guitarfigurer og medtagne, pixelerede beats udfoldes som en fragmenteret krydsklipning mellem halvt udviskede minder og referencer – som nostalgi i grynet lavopløsning.