MR TC – Golden Gate

Retrofuturism is used to define “the use of a style or aesthetic considered futuristic in an earlier era“. Artists such as Bruce McCall, Frank R. Paul and John Harris painted their visions of the new world. At times, the concept is used for stylistic vision found in Hollywood narratives. The film industry has produced movies like ‘Metropolis‘, ‘Brazil‘ and Stanley Kubrick’s ‘2001: A Space Odyssey‘, each offering their interpretation of the future. A sci-fi environment, of course, needs its own soundtrack. Progressive, psychedelic rock bands such as Pink Floyd formed space-age worlds full of anachronisms. Pioneering Jazz musicians such as Herbie Hancock propagated the branch of Afrofuturism. His 1975 album titled ‘Flood‘ features an album cover featuring an African-American astronaut. Yet none of the music genres come close to fitting as well as the electronic genre. The futurist world of technology gave birth to its soundscapes. Kraftwerk’s album Radio-Activity is an artefact in this respect. Forty years down the line, faint echoes of its phantasm can be traced in modern releases. Judging by his tracks Thomas Clarke, also known as MR TC, is a cum laude student of the German collective. ‘Golden Gate’, his release on Jennifer Cardini’s Correspondant 06 Compilation. The LP combines “palpitating ambience [with] chuggernaut technoid trips“. It is this year’s time travel back to 1970s Düsseldorf.

---

The track begins with drum instrumentation best described as downtempo Carl A. Finlow. The underscoring arpeggio moves along in an ascending order. Its analogue sound comes close to matching the 1980s soundtracks of Halloween 3 or Videodrome. The lackadaisical tempo gives of a sense of banality. One can imagine a scene of a lonesome robot carrying out its duties on an abandoned starship galaxies far away. All the while random spurts of ray gun and machinery samples lurk in the background. Then enters the liquid sine bells, accompanied by echo and reverb. The nautical sound feels almost doleful, contrasting with the dispassionate laser stabs. The dichotomy between emotion and enginery is united by the kick. The question, however, arises whether this kick belongs to the beating of the heart or the motor of the machine. This concept of man vs. machine was explored by labels such as Dubfire’s SCI+TEC. Using presets that intentionally sound nostalgic, MR TC creates an exhibition of retrofuturist aesthetic that is captivating. Continue reading →