Trevor Jackson`s Skull project has been around since 1994. Contributing a track to Mo`Wax`s musical mission statement / genre-defining compilation, Headz. The genre being “Trip Hop”. That lazy label given to stoned, intricate, Psychedelic, Hip-Hop-influenced instrumentals. The track being Destroy All Monsters. Borrowing its title either from the seminal 1968 Japanese Kaiju movie – starring Godzilla – or the cult Detroit, Anti-Rock, Proto-Punk band – which featured members of The Stooges and MC5. Both are possible. But given its creator, if pushed, I`d go for Godzilla. In 1999, Skull released an E.P. – on Jackson`s own Output imprint – that cocked a wink at the Classic B-Boy break. But the record, Snapz, was far from a straight forward dancer. With tracks more like suites. Moving from beatless to head-banging and back again. Mixing distorted drums, scavenged sonics, and electronics. “Illbient” – an ambience of unease – was another term the music press bandied about. The standout on Snapz was Crash! Where Trevor got seriously funky with his doorbell.
Now from Jackson`s Pre-Recordings archives comes Black Static. Black perhaps a nod to the music`s complexity. Its absorption of all sound (as opposed to light). Pitched even further away from any obvious Hip Hop template. Other than the manipulation of samples to create something new. And taking Public Enemy`s Chuck D at his word, when he demanded, “Bring the noise!”
The opener clocks in at sixteen odd minutes. A Musique Concrete haze. That speeds up, slows down, runs backward and forwards simultaneously. As it increases in volume and intensity. Throwing in tooth-filling rattling bursts of dentist drill. Opening a third eye portal in the manner of another of Trevor`s aliases, Dark They Were And Golden Eyed. Camazotz travels obsidian waters, towards a heart of darkness. Zero Set bass arpeggios and The Psychick Warriors Ov Gaia`s tribal Trance in a Congo part Conrad / Coppola, part Zazou / Bikaye / CY1. A machine ritual to summon ancient alien Godz cast from the same shamanistic shadows as those of Salon Des Amateurs` Durian Brothers. Toxicity popping, whirring, and bubbling, before booming. There are Rock guitar snippets. Punk Funk bass and drum loops. Brief freaked-with flashes of where Output would later make its name. With artists such as LCD Soundsystem, and The Rapture. Rent Yourself perhaps a play on the contortions of Punk Funk granddaddy, James White. Echoes of a future / past dissolving into a fog of the titular static and horns.
300 hundred copies of the vinyl are out and about. Digital can be pre-ordered at Bandcamp.