Frieze, October 2005
Sample-hunters prize library recordings for their high-calibre musicianship (often involving top jazz players or classical musicians earning a few bob on the side). But where hip hop producers are searching for crisply funky breakbeats or stirring string flourishes, Ghost Box’s library fetish has a more rarified aspect. Jupp and House love the “science of mood” that informed the genre (tracks come with helpful descriptions such "light relaxed swingalong", "industrious activity", "neutral abstract underscore"), and the aura of “craft and anonymity” enveloping both music and packaging
“It’s like the musicians and designer are working from the same brief,” says House, describing how the covers’ clunky-yet-eerie photo collages seem to mirror the music’s “angular, disjointed” moods. When making their own music, the pair start by putting together “mood boards of relevant images and words,” says Jupp. “The design work for any Ghost Box release always runs parallel to recording.”
One key zone of obsession involves the tales of cosmic horror and pastoral uncanny penned by gentleman occultists like Algernon Blackwood and Arthur Machen. Inspired by a Blackwood story, the title track of Belbury Poly’s debut album The Willows marvellously conjures the weird energy that sometimes emanates from certain places--flooded meadows, deserted heaths--in the English countryside. And “Caermaen” gets its name from Arthur Machen’s fictionalized version of the Welsh town of Caerlon, which just so happens to be where Jupp and House grew up, spending many a happy boyhood hour roaming the banks of the River Usk or hanging out in the ruins of a Roman amphitheatre.