Jamie Stewart - An Aggressive, Chain Smoking Alcoholic

Jamie Stewart - An Aggressive, Chain Smoking Alcoholic

7.50

An Aggressive, Chain Smoking Alcoholic is nine instrumental tracks of stark, menacing awe from Jamie Stewart of Xiu Xiu.

Absorbing the rapidly decaying beauty found in everything from Pharmakon and early Prurient, to Wolf Eyes and Yellow Swans, this record is so much more than the sum of its influences - it’s the other in audio form.

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Tracklist:

1. Dosey doe
2. As a favour to me, please kill your wife's stepfather
3. Thanks for nothing
4. Inconsistent and peculiar volume
5. Scout schultz
6. Rollin forties
7. Western destroying angel
8. Raw deal
9. Dosey duh

 

Like lost frequencies trapped in an abandoned saw mill, it’s impossible not to recall Twin Peaks at its most abstract and intense when listening to this record. 

Lynchian mechanical, metallic noise abounds, and any semblance of organic is suffocated - wrapped in plastic and re-figured as something not of this world.

Written and recorded almost entirely on modular synths at his home studio (NURSE), Jamie Stewart enlisted the production of ambient drone pioneer Lawrence English to bring his creation to life.

Eugene Robinson of Oxbow wrote this piece as an accompaniment and response to An Aggressive, Chain Smoking Alcoholic:

“It’s in the blood. That river of empty. And it moves, in fact, its essence is movement. Blind. Animal. Indifferent. Condemning this and the condition of this makes as much sense as accusing rain. Or in this instance the night. The dark passage of all of that motion as The Homeowner made herself at home. Busy. With the baking and a dozen other things, without a point in the larger schema of finitude. A schema that was set against a kitchen of whites and wooden floors and the nervous skittle of the tops of tails that could be seen right above the windowsill, as her cats roamed.

Want is confusing. Want is as confusing as that butcher block full of knives. Want is not at all the word I would use to describe getting there earlier than I had expected and seeing what I saw. I knocked. I entered. This is not about murder but this is most certainly about death. And Aristotle’s unmoved mover who, unseen while I was seeing, set it all adrift.

In the end there’s only the end, the undifferentiated whole of horror and this yawns in my ears, this cartoon music. We are ridiculous. We are ridiculous.

We are left with our ridiculousness. At the very least.

And now me about to make what had just happened, happen again. A car’s high beam sweeps over the house front and reflects inside on the floor that’s quickly covering. It’s lovely, this love. It’s lovely.”