FLYING SAUCER ATTACK: Unstrumental No. 7

Flying Saucer Attack release Instrumentals 2015, their first album in 15 years on Friday the 17th of July 2015. Comprised of 15 fresh David Pearce solo performances recorded in characteristically lo-fi manner at home, using guitars only on tape and CD-R, Instrumentals 2015 is an album that will appeal both to FSA diehards and those wholly unfamiliar with the outfit’s recorded output. The 15 tracks on Instrumentals 2015 present an impressionistic narrative which transports the listener through the excoriating dronescapes and rueful introspection of the album’s early pieces to the more redemptive cadences of its closing half. Given its sense of momentum, maintained through Pearce’s thoughtful sequencing, this is an album that should be experienced in its entirety, the better to appreciate its deliberate emotional arc. Celebrated director Peter Strickland has shot his first music video for Instrumental 7, after meeting Dave and using the song ‘Seven Seas’ in his recently released film The Duke Of Burgundy.

THE QUIETUS: In the early 1990s, while major studios were embracing ultra-crisp digital recording technology, many of the eras seminal releases were proudly exhibiting a marked deterioration in fidelity. The genesis of the lo-fi movement lay in a hugely significant meeting of mind and machine: a widely disseminated post punk DIY ethos which liberated flyack_pre_7the ubiquitous home four-track cassette recorder from its intended role as a humble tool for making demo tapes, and legitimised it as a medium for creating masterpieces, to be distributed globally by pioneering labels such as Domino and Kill Rock Stars.

In the USA this movement was typified by the glorious early output of Guided By Voices, Sebadoh and Elliott Smith, while in Bristol, England, Flying Saucer Attack’s unprecedentedly noisy debut took lo-fi to hitherto uncharted depths by making technologically compromised bedroom amateurism an essential part of its unique, rural psychedelia. This outrageous disregard for music industry engineering standards was innovatory, but it was also totemic: the next incarnation of an ethos which in the intervening years had given us the thousands of white label dance 12″s that saved the vinyl medium from a major label-led campaign of forced extinction.

For Flying Saucer Attack, resistance to the major’s digital cultural cleansing was a necessary form of aesthetic terrorism, crafting a sound that made a virtue of the hissy mechanics of four-track-cassette-to-vinyl duplication, and celebrating it with sleeve notes and run out groove etchings stating “compact discs are a major cause of the breakdown of society” and “home taping is reinventing music”. MORE