Squid Vicious

Andrew Henry

POST-SCRIPTUM 362

DAVID BOWIE ON GLENN BRANCA’S ASCENCION LP

THE ASCENSION

GLENN BRANCA

(1981, 99Records)

“Bought in Zurich, Switzerland. This was an impulse buy. The cover got me. Robert Longo produced what is essentially the best cover art of the 80s (and beyond, some would say). Mysterious in the religious sense, Renaissance angst dressed in Mugler. And on the inside … Well, what at first sounds like dissonance is soon assimilated as a play on the possibilities of overtones from massed guitars. Not Minimalism, exactly—unlike La Monte Young and his work within the harmonic system, Branca uses the overtones produced by the vibrations of a guitar string. Amplified and reproduced by many guitars simultaneously, you have an effect aking to the drone of Tibetan Buddhist monks but much, much, much louder. Two key players in Branca’s band were future composer David Rosenbloom (the terrific Souls of Chaos, 1984) and Lee Ranaldo, founding figure with Thurston Moore of the great Sonic Youth. Over the years, Branca got even louder and more complex than this, but here on the title track his manifesto is already complete.” David Bowie

( Borbetomagus maybe, by there: