The anti-magical powers of Nym. BY BRYAN HOWE

The Secret of Nym Durham musician Lewis Scaife claims to have anti-magical powers. Is he just trolling?

BY BRIAN HOWE bhowe@indyweek.com

Three days before its January 6 release, the INDY premiered the title track from Countermagic, the sixth album by Durham-based electronic musician Lewis Scaife, aka Nym.

I liked the record, a lush, sleek blend of downtempo and instrumental hip-hop enriched with live musicians and swordand-sorcery movie samples. Nothing else suggested a concept except for the song titles: “Nocus Pocus,” “Hex Deflector,” “Incan’tation.”

I’d been emailing with Scaife, gathering routine background detail. Almost as an afterthought, I wrote, “There’s clearly some sort of magic theme around this record, what’s up with that?” “Countermagic is about protecting ourselves from the supernatural threats that surround us,” he replied.

“It has been personally revealed to me that I am a Countermagician,” he went on. “I can render curses ineffective. I can make ghosts invisible, inaudible, and otherwise undetectable. I can turn magical crystals into inert stones or invert their magical polarity to cause a negative effect equal to their former power. Sorcerers find themselves powerless in my presence. Sometimes, clients come to me complaining that they are being harassed by psychics—I can use my powers to turn these pesky precognitions into relatively safe postcognitions. All for a very low fee, considering the personal risks involved.

Nym PHOTO COURTESY OF LEWIS SCAIFE

“Some unbelievers have called this album ‘deep cover skepticism,’” he concluded. “This just goes to show that you shouldn’t believe everything you hear.”

I had two swift reactions to this email: excitement, because nothing excites a writer like a vivid, unusual story; and wariness, because here was a guy saying he could nullify magic and releasing his album about it at a Tarot-themed bar. It’s one thing to concoct a counter-magical “protagonist” for your album promo. Insisting that it’s real is something else. Either Scaife had unique beliefs and experiences, or he was dissimulating—for media manipulation, a skeptic’s crusade, general lulz, or some other hidden purpose. I held out hope for the former right up until his closing warning against credulity. But I still wanted to know what he was up to. I asked if he was serious.

“Let’s just say you can’t prove I’m not serious,” he replied. Apparently, a game of cat and mouse was underway. I was sharply aware that with one email, a subject had bumped himself from short review to longer feature. I suspected Scaife of “deep-cover skepticism” as soon as he preemptively rebutted it, and it struck me as a little icky, as Scaife is a white man invoking traditions from other cultures and communities. There seemed to be an ethical difference between applying the concept of counter-magic to things like haunted houses or fantasy novels and things like African-American spiritual folkways (“Voodon’t”) or Wicca (“Whichcraft”). Scaife claimed he believed in magic and could counteract it; I suspected he was a rationalist troll. But a troll can hold sincere, illuminating beliefs, and maybe I was wrong. So I set out to learn how counter-magic related to Scaife’s experience, what he hoped to achieve by promoting it, and whether that context shined a more or less sympathetic light on his motivations.

Even though this deceptive narrative implicated me in the story in an unusual, uncomfortable way, I decided to play.

Iarrived at Scaife’s house in Durham on a sunny winter afternoon. He showed me the computer where he makes music and then led me to the back deck. I sat on the edge of a deck chair to face him and took off my sunglasses. He reclined in the other chair, facing the sun, and kept his sunglasses on.

Through streams and licensing, Scaife makes his living from his music; downtempo is popular in Europe, where he has a big enough following that his album prices default to the euro. He says he grew up in rural Virginia and lived in San Francisco after college. He moved to Durham in 2016. He’s not necessarily a reliable source, but there’s an ample online trail to support his basic biography. Scaife has been releasing albums as Nym since 2006. For someone who never played an instrument, he displays a fine ear for melody and composition on Countermagic, a joint release with Athens’s Melting Records. To compose, he listens to world music from online archives and develops a sense of its unique harmonic profiles, collaging them into a foundation. Perhaps it’s ironic, as he’ll later note, that he describes his role like that of a spirit medium.

“I’ll hear these melodies that emerge,” he said. “They’re already there, and I just need to listen. It’s like you’re holding pottery and you drop it and pick it up and make a new picture out of it, a mosaic approach. I feel like I’m more like a facilitator than the driving force.”

To translate his computer melodies for instruments, Scaife enlisted guitarist Zach Scribner, violinist Morgan Fleming, flutist Tonito Walls, and others, including his girlfriend, Melissa Rakowitz, who performs as Spherelet. Some of them will join him at the Arcana release show on February 1. In terms of polish, Countermagic is Scai fe’s most ambitious record yet. Its theming is more ambitious, too. Warm Blooded Lizard, from 2011, had a simple Spaghetti Western concept, while 2017’s Lilac Chaser was about optical illusions. Scaife said that it was after the latter that he discovered his powers and abandoned skepticism.

He shifted into the particular tone—eva sive, stickling, archly orotund—that he uses when he talks about counter-magic.

“I am able to dispel curses, and where I go, ghosts aren’t,” he said.

Did this happen by his presence alone, or was an action required?

“I don’t know. This is very mysterious to me,” he said. “The rituals are very minor. For all I know, it could just be the presence. I know it works because there are no ghosts afterward.”

How did he know there were ghosts before?

“I have to take the person at their word. If they have a haunted house, and I see no ghosts, I can only assume that the ghosts fled my presence.”

How were these powers revealed to him? “After a lifelong appreciation of skepticism, I had to take a hard look at the facts. If I have to take other people at their word, they have to take me at mine. I can only assume they’re mistaken, telling the truth, or lying. If they’re telling the truth, I must accommodate this new subset of reality that they’re proposing with an explanation of my own.”

Scaife said he discovered his powers at a séance at Arcana. “It was proposed that it was my presence that disrupted the séance,” he said. “I was flattered. I didn’t think I had the power in me.”

How did the people at the séance feel about that? “Frustrated,” he said. To the suggestion that skepticism alone would be enough to disrupt a séance, he replied, “I’m no longer skeptical. I can only propose it was my magical powers.”

I said it all sounded like an intellectual dare from a rationalist in mystic’s clothing.

“I can understand why people would think that, but I will not accept it,” he said. But he would concede that animus for organized religion is a factor.

“I’m concerned that someone with closely held beliefs who wanted special privileges or respect in our society could be disingenuous about this and get those privileg es just on their say-so. That’s my fear, that someone’s out there being insincere about this, while I’m dead serious.” I asked if anyone had tried to problematize this idea for him—after all, some of these belief systems are the redoubts of marginalized populations—and if he wanted to hurt people. “No, and that’s the scary thing. If someone had a magic crystal in their pocket and I rendered it inert before they went into a job interview, that would be a fairly despicable thing to do. I don’t go into Everyday Magic and wave my hand over the merchandise. It’s something I do have to be conscious of exerting.”

Throughout, Scaife maintained a neutral expression occasionally broken by a charming, disingenuous grin. Near the end, he told me he’d given me “a quick visual pat-down” to make sure I didn’t bring anything negative, such as an evil talisman, into his home. Apparently, I hadn’t. He sent me off with a plastic tub of greens he’d grown in his garden.

Istill wondered if there was a sincere core in Scaife’s artifice, but when I tried to fact check the Arcana séance, he said he’d misspoken—it was actually just a Ouija board. He directed me to Rob Hansen, a friend from San Francisco who is credited for “thematic/genre consulting” on Countermagic. I wrote to ask if he’d talk, and he sent back a long, entertaining, garishly fictional story.

In a wink-nudge tone, Hansen spun an elaborate tale of moving into a haunted apartment next door to Scaife, who promises to use his music to keep Hansen safe and gives him a bottle of whiskey as a “hex deflector.” In exchange, Hansen has to pay Scaife’s Wi-Fi bill—in laundry quarters, no less—and watering his plants is part of the protection ritual.

It’s as if Scaife were Tom Sawyer tricking his friend into whitewashing a fence. I was now fully in on the joke.

Meanwhile, Scaife emailed to clarify his thoughts on the cultural-appropriation issues I had broached.

“I’m a straight, white, cis male homo sapiens, and surely labor under some internalized delusions of privilege,” he wrote. “But I feel that I identify only circumstantially with all of those categories—especially the last. Worse to me than any malignant magician or pernicious priest is the superstition of anthropocentrism. … Countermagic isn’t about targeting at-risk people, it’s about engaging the interested, out-maneuvering the skeptical, and conferring with the credulous.”

He pointed out the paternalism of my assumption that certain communities “need” magical beliefs, and I said that, as it seemed we agreed that he was talking in character, I cared more about his motivations than his sincerity. I asked if there was some formative, perhaps traumatic experience he’d had with magical beliefs.

“I’d be happy to try and take the wizard hat off, but I consider it thematically important to the album that the character isn’t broken,” he replied.

But for once, he told me the straight truth: He per ceived a taboo around challenging the spiritual beliefs of others, and counter-magic’s emphatic, unfalsifiable, dubious claims were meant to redirect a burden of proof onto magical beliefs.

The game had run its course. Did anyone win? I appre ciated the creativity lavished on it, though I thought there was something a little juvenile about the logical trap. Scaife had succeeded in making a mountain out of an instrumental hip-hop molehill, which amused him. I still think the record is good, though I’m not sure I’ll be able to listen to it in the same way now. It’s not that I dislike Scaife. But I don’t trust him, and I wonder if I brought something negative into my home.

I never could quite bring myself to eat his greens. W

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Techno Utopia Electronic dance music is big business, but some local heads are holding it down for unprofitable liberation

BY MARTA NÚÑEZ POUZOLS music@indyweek.com

With three outstanding new local techno releases and two shows to celebrate them, this is a big week for dance heads in the Triangle. Instead of a coincidence, this burst of activity speaks of the richness and incessant production of underground electronic music in our area. Activ-Analog is dropping Tributary, a double LP by Sponge Bath, at Nightlight on February 1. The Charlotte-based techno label, which is celebrating its twenty-fifth anniversary, also promises an all-night dance party.

Meanwhile, Hot Releases is launching two tapes—Binky’s self-titled debut and dancefloor veteran Faster Detail’s Boombox—at a release show on Feb. 3. The bill, a warm-up for the International Noise Conference in Miami, is rounded out by Raleigh’s Cevra and two acts from NYC. It also takes place at Nightlight, which is known for its passionate efforts to support local artists while bringing world-class acts to the area. Hot Releases is one of the most active agents in the local experimental music field, and it’s kicking off the year with four local releases. (In addition to Binky and Faster Detail, there will be a newly mastered edition of Secret Boyfriend’s Memory Care Unit and a tape of rhythmic, trance-inducing noise by Cevra.)

At a vertiginous speed of 200 bpm, Binky taps into the characteristic overdriven-kick sound of gabber. The tape reinterprets and enriches this classic subgenre of hardcore techno, complicating the aggression of the fast kick with noise textures and psychedelic leanings.

The project is the collaboration of Durham’s Alene Marie, aka Liquid Asset, and Providence’s Tom Bennett, of Tinnitustimulus. The combination of their respective talents in hardware acid techno and harsh noise makes Binky a strange prodigy with a demented horror aesthetic that inspires euphoric dancing as much as unexpected chills. Faster Detail’s Boombox is less dark but just as frantic; Hot Releases founder Ryan Martin calls it “25 minutes of driving four-on-the-floor cyborg rave-ups.” Greensboro’s Alex Chesney puts aside his more complex electronic experiments to offer one long track of warm, ultra-fun techno. The tape is delightfully simple, energetically over-the-top, and smoothed out by an extreme commitment to lo-fi—it was recorded live, directly into a boombox.

Since his arrival to Carrboro in 2008, Sponge Bath’s Nathan Taylor has been a constant presence in underground electronic events in the Triangle, both as a producer and as a DJ. After three LPs, Tributary is his first double-vinyl release. It contains seven tracks of hardware techno recorded over the span of three years in his home studio.

Binky’s self-titled tape PHOTO COURTESY OF HOT RELEASES

The combination of their respective talents in hardware acid techno and harsh noise makes Binky a strange prodigy with a demented horror aesthetic that inspires euphoric dancing as much as unexpected chills.

Dedicated to the memory of Taylor’s grandfather and a tribute to the pioneers of underground dance music, Tributary is an exercise in gratitude for the people and artists that have shaped the producer, a reflection on what it means to be part of a tradition, and a successful attempt to keep it alive. Taylor says these tracks were designed to be used by DJs in a club, emphasizing the crucial role of the dance floor in the experience of techno.

Throughout the tracks, we can hear echoes of the futuristic fantasies of Model 500, Drexciya, and other Detroit trailblazers. There are also German dub influences, and we can sense the presence of more recent U.S. producers such as Mike Parker and Bill Converse.

When asked which aspects of classic underground dance music he cares about the most, Taylor replied, “Freedom. Expression. Escape. Rebirth. Struggle. But also, honestly, fun.” This answer seems represen tative of the values of underground electronic music in our area.

Even if the term “underground” can be divisive or merely refer to a particular aes thetic, its application to this community is meaningful. Their consistent efforts to keep the pleasure and liberation of elec tronic dance music free from market cooption—making “music that exists for specific moments/spaces/places, outside of the constant onslaught of profit motive,” as Taylor says—is a true act of resistance.

As relentless technological mediation iso lates us and reduces us to consumers, we have the privilege to live in a place where unconventional producers, labels, and venues are consciously creating the conditions for electronic music to return us to our bodies and our communities. W

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