Kirby described it as "a lot warmer and more gentle.Not all memories are necessarily bad or disturbing memories". Rosy retrospection fixates on an event with a sense of less-bereft nostalgia - the memory trap seemingly resting on a happy moment.".
Not every locked groove is entirely hopeless. Persistent Repetition of Phrases combines overt interest in amnesia and memory distortion, with a more melodic piano-centered atmosphere, with fewer recogniseable samples than the Haunted Ballroom period: "After a few minutes you realise that something is stuck.Each song is tightly looped, a single event, chasing its own resignation. Vague clouds of noise, barely flickering signals of life, only the starkest traces of past romanticism (no matter how poignant)- nothing to cling onto." Mark Fisher contrasts this album with the Caretaker's previous output: "If his earlier records suggested spaces that were mildewed but still magnificent - grand hotels gone to seed, long-abandoned ballrooms - Theoretically Pure Anterograde Amnesia invokes sites that have deteriorated into total dereliction, where every unidentified noise is pregnant with menace." Jon Fletcher describes the release as "the labyrinthian set is a k-hole for the mind. Doran also sees the album as "a change in direction for the project conceptually, as it started to explore different aspects of memory loss as the music itself became more texturally and structurally complex." Reynolds identifies it as a shift in the sound, "disorienting in its scale and abstraction", with his period 2005-2008 "exploring similar zones of queasy amorphousness".
#The caretaker everywhere at the end of time series#
Theoretically Pure Anterograde Amnesia was released in 2005 as a series of 72 free MP3 downloads. Never less than beautiful, it was just hard to conceive of actually needing any more of it." 2005–2008: Amnesia period By the time of the third release though, it was hard to imagine what more could be done with the project. These early forays have the allure you find in childhood ghost stories.
Kubrick’s film, like the best horror, still injects a thrill and there a remnant of comfort in being haunted, a strange warmth. despite the uncanny affect and despite the eeriness, there is something warmly seductive about this debut triptych. The mannered romantic swing of a bygone era is rendered beguilingly uncanny.These first releases flitted from bursts of noise (September 1939) to gaseous ambience (We Cannot Escape The Past) to subtly-soaked moments of outright beauty (Stardust - a moment so captivating that this writer got married to it (not to the song itself, oh you know what I mean)). It's a stranger’s past relocated within your own memories, a re-imagined history from an alien past. "instantly recognisable musical identity of British tea-room pop (dance-band and swing music from the 1920s, 1930s and 1940s) plugged into a multitude of effects to create a Proustian Replicant inverse. Simon Reynolds refers to the Caretaker's first three releases as "the haunted ballroom trilogy", spanning 1999-2003: Selected Memories from the Haunted Ballroom, A Stairway to the Stars, We'll All Go Riding on a Rainbow. History 1999–2003: Haunted Ballroom trilogy
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