2024-02-13 22:08:10
The mortifying horror and the hope of a clerical influence expands: (The) Reverend Kristin Michael Hayter sets its 2023 rebirth SAVED! a companion piece – or a so-called one Index – backwards.
„Recorded by Brother Seth Manchester and his magical tape machine at Machines with Magnets in Pawtucket, RI.“, – that is, created in the same sessions as the regular studio album, and consequently also captures the same aesthetic sound design, damaged by fictitious years and trimmed to worn-out signs of wear in lo-fi minimalism, as an additional layer of meaning – feeds itself SAVED! The Index (almost) exclusively consisting of spirituals, old gospel hymns and traditionals reinterpreted by Hayter.
Sometimes it screeches, stomping and stomping in the band salad (A Beautiful Lie), sometimes Hayter gives himself carefully to the organ toil (Abide With Me) or conjures, as in Were You There When They Crucified My Lord, accompanied only by rain and an approaching storm, sad acapella magic. In Jesus‘ Blood Never Failed Me Yet Meanwhile, the rusty piano scrapes like chamber music to the variety show Give Me Jesus the piano is staged as a dramatic instrument and The Christian Life as a wallowing beauty of melancholy. In Talk About Suffering Here Below Just background noise is practically sufficient as accompaniment and Tongues (Extended) extends the prayer in tongues to a whopping, psychologically attacking 14 minutes of playing time.
Atmospherically dense and captivating, and most importantly: thoroughly authentic!, works SAVED! The Index so on a qualitative level with the nominal main work and thus, as a time capsule that saturates the framework, represents an essential addition to the still young, which so much simulates a long age Reverend-Kapitel von Hayter dar.
Or in your own words:
Greetings Comrades,
SAVED! at its inception was a compendium of hymns, how far might I go and how many I might record. Presented here is a selection of unreleased recorded work from the SAVED! sessions, which Seth and I began referring to as The Index. Featuring works as disparate as „A Beautiful Life“ from the Western-themed children’s show „Howdy Doody“ to the puritanical English choral piece „Abide With Me“ and the Pentecostal „Running For My Life“ — as well as field recordings muttered to one’s self on the porch in the rain, the index features a variety of tones and sources arranged with my special unhinged panache. A hymn I found lyrics to but might not find music to,: „O Death Where Is Thy Sting,“ left me to compose on my own, as is the case with a few other works here and on SAVED! — Blind Willy Johnson’s „I Know His Blood Can Make Me Whole“ does not use his music but recontextualizes his lyrics — draws attention to the complicated history of sacred music, how cultural shifts, oral histories, the advent of recording, systemically forgotten legacies, and appropriation make the origins of so much of this music very difficult to pinpoint; forgotten-ness, a major theme from SAVED!. This index also features, for the glossolalia die-hards out there (a small subsection to be sure) the extended version of the tongues recording that appears on SAVED! in all its feral weirdness, ending with laughter (??) that I might not control. Please enjoy.
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