Recently I read an article about a genre of music that had previously been unknown to me: Hauntology. In a nutshell, Hauntology is a throwback to the eerie, folksy world of British childhood in the 1970’s. The author summarizes the genre’s affective impact as “strange, melancholy disquiet.” Apparently music is being made today (and has been for some time) that conjures all at once that decade’s public broadcasting for children, the acoustic sounds of the English folk tradition, psychedelia, pagan chants, and synthesizers. Most of this material has been released through a few different labels: Ghost Box, Clay Pipe, and Trunk Records. Each specializes in a different variation of the general theme. On the whole, though, they all produce music that’s unsettling and evocative of a very particular place and time in the last century. There is something autumnal, something anachronistic, something broken in it all. In short, it’s music that’s haunted.
Many of the albums have cover art inspired by Eric Ravilious or John Nash or Sir Stanley Spencer or even Rex Whistler, those painters who so marvelously captured the quiet unease of the British landscape and its denizens. And the multimedia satirical phenomenon that is Scarfolk fits right into the broader movement. Hauntology is more than just a style of music. It’s an aesthetic.
Vaporwave derives its critical bite as well as its occasional airy ephemerality from a unifying sense of dread. Much the same could be said of Hauntology. Only instead of the zombie-like ascent of neoliberal late capitalism under the glittering haze of digital culture and advertising, Hauntology is still preoccupied with the anxieties of the analog age. Orwellian dystopia, the loss of the British countryside, and the destruction of innocence all hover under the surface. It’s drawing upon creepy public service announcements rather than Japanese soft drink commercials. Hauntology is to British Folk Horror as Vaporwave is to Cyberpunk.
The common denominator is nostalgia, but a nostalgia free of illusions. Each of these aesthetic representations of a remembered decade – Lynch’s 1950’s, Hauntology’s 1970’s, and Vaporwave’s Digital Age – contains a degree of attachment to that particular time. Usually because the main creators involved in producing the aesthetic grew up then, and thus they draw upon the dreamlike haze which alternately gilds and clouds our world in youth. But it’s all shot through with the very real understanding that the past was not as wonderful as we would like to believe. Something nasty lurks just beyond our peripheral vision. We cannot help remember, but in that remembrance, terror awaits.
I’m an American, and only in my early twenties. 1970’s Britain wasn’t a world I ever knew. Nevertheless, I immediately connected with the emotional phenomenon behind Hauntology. Certain relics of that earlier time appeared every now and then in childhood, and even those that weren’t directly from the United Kingdom of the 1970’s often bring to mind that same feeling of remembered unease. Many of Don Bluth’s films animate precisely this strange, sensitive part of my memory. So do Stephen Gammell’s original illustrations of the Scary Stories to Tell in the Dark books. So does The October Country, Ray Bradbury’s wonderful short story collection (which itself significantly predates the main era of Hauntology). So does anything by Lynd Ward. So do parts of Pink Floyd’s The Wall. So does that horrible movie, The Plague Dogs. There are probably more examples I could summon up if I thought about it long enough. I am no stranger to “strange, melancholy disquiet.”
I’ve always liked that sensation, and I’ve always been drawn to other peoples’ nostalgia. As such, I’m super pleased to have discovered Hauntology.