Details
All instrumentalisation, recording, mixing and artwork by Nathan Michael. Mastered by James Plotkin. Thank you Nicholas, Chris, James, Marc, Adam, Jess and Earth. Released on Profound Lore Records, 2008.
Band
- Nathan Michael—Everything
Tracks
- Omen I (15′ 27″)
- Omen II (12′ 12″)
- Omen III (11′ 01″)
- Omen IV (12′ 11″)
Review
This is a curious album. It is only four tracks long, but it still lasts over 50 minutes. The album packaging is quite surreal. It looks like a collage, drawing together retro images from, I guess, the 1950s or 1960s, alongside photographs and illustrations of human anatomy, and chess diagrams. And then there is next to no text on the packaging—nothing to do with the album, anyway. Anything that I’ve gleaned about the album or composer I’ve had to find elsewhere.
I tried to listen to the album at first in the car, but I couldn’t hear much above the rumble from the road.
Omen appears to be one piece of music, separated into four parts, sitting somewhere on the experimental / ambient / drone spectrum.
I’ve been searching for a word to sum it up, and I can’t get far beyond “devastating”. There’s a deep melancholia to the music, as it densely flows from one cinematic soundscape to the next. At times I felt as though I was drifting aimlessly on an ocean, beneath a heavy grey sky. It’s definitely not a piece of music to put on to cheer yourself up to.
And yet… having listened to it once and having come out the other end feeling utterly miserable, I just went back and started it again. And again. And I’m now on my fourth listen today. There is something mysteriously human about it; there is something about it that makes it oddly soothing and comforting while paradoxically making you also feel on edge. It’s like sitting down in your comfy fleece trackies and jumper, clutching a mug of hot chocolate to watch The Blair Witch Project.
The music itself is a mixture of guitar (clean and distorted), bass, drums, keyboards/piano, and various sounds, frequencies, waves and bursts of static. Passages are played backwards, and throughout there is a deep drone. Some passages flow, others like those in “Omen III” lurch adding to the jarring. It is simple but uneasy.
Conclusion
Half Makeshift appears to have been the project of Nathan Michael, who stopped recording music convinced that the world would end on 21 May 2011 (the birthday of Great King Rat, for any Queen fans out there; and the birthday of my grannie and her twin sister, for any members of my family out there). Omen then was his last recording: a requiem for the human race. If I’d known than before I might have kept this as the final album to review.
Like much modern choral music, this is a love-it or hate-it kind of album. I’m veering towards the love-it end of that particular spectrum, but I guess I’d need to be in the mood to listen to it. It’s just that mood will likely be depressed.
Review score: 80%