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My name is Bob Fischer, and my 1970s childhood was imbued with an odd sense of melancholy and a vague, unsettling disquiet. And oddly, I’m really rather happy about this. For decades, I vainly attempted to describe, evoke and recapture these feelings… until I realised that a generation of musicians, artists and writers were already – rather conveniently – doing the job for me. If you’re reading this, then it’s likely you’re familiar with the world of “hauntology” – of Ghost Box Records and Scarfolk Council and Boards of Canada – but if not, then that’s fine. I’d be delighted for this blog to act as a gentle introduction.

The Haunted Generation (Bob Fischer)

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Having a catch-up with this thread, it's interesting how there's quite a split between the roots of hauntology in popular culture and the way it seems to have headed. I recall a lot more stuff about public information films, '70s sci-fi, post-war brutalism, early analogue synths back in t'day, whereas there's much more emphasis on folklore, paganism and such these days.

I've always enjoyed stuff with a spooky atmosphere, but generally prefer the end of things which fall into the uncanny, rather than outright witchcraft, rituals and such. I used to write these little first-person stories about wandering around places I don't know and witnessing subtle but inexplicable weirdness, which influenced some of my early albums. The one I was happiest with was stumbling across a concrete industrial-looking complex - '60s brutalist style - in the middle of a moor, and only finding one door in the whole place, which I enter, to find an empty room. Even though I'm only in the room for a minute, when I leave, an entire day has passed. I wander around and am unable to find the door again. 

I quite fancy revisiting that kind of atmosphere in my music again.

Also:

 

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