Boomkat Product Review:
40th anniversary edition of NWW’s darkly beguiling 3rd album, seeing Steven Stapleton go solo in a slowly spirit-gnawing side of collapsed concrète jazz cut-ups that recall pre-echoes of Mica Levi and Demdike Stare at their most zonked
‘Merzbild Schwet’ documents Stapleton left to his own devices in the studio later in 1980 after bandmates Heman Pathak and John Fothergill left due to dissatisfaction with their collaborative efforts on ‘To The Quiet Men From A Tiny Girl’. The results, in their own way, are perhaps more detectably coherent, in the sense that this is the sound of one man’s mentalism, and not the combination of three who can’t decade who’s weirdest. As such, it’s a real warper, with one side seemingly nodding to a classic Neu! B-sides from behind lysergic eyes, and the other striking deep into a vein of theatric avant-garde.
Recycled from hacked and spliced jazz samples, the A-side’s ‘Dada x’ slops over the front with knackered drums and smeared brass tones that recall the B-side to ‘Neu! 2’ (itself crafted last minute in the studio, using slowed down samples of the same record’s A-side) as much as Micachu & The Shapes’ & London Sinfonietta’s ‘Chopped & Screwed’ session, with additional stirrings from a French pop record adding to the oddness in a way that also recalls Ghédalia Tazartès and that amazing Joseph Hammer side for PAN.
‘Futurismo’ is a very different beast though, stretching out 24mins of pineal, searching-in-the-dark atmospheres that feel like they strayed from an avant garde theatre work or modern classical conservatory, with pealing woodwind and arcing spectral keys paving the way for mind-bending corridors of patchworked sci-fi vocals, shatterproof industrial clangour, and Stapleton's patented plasmic electro-acoustic audness.