I thought the point or idea of hauntology more that it is a continuous process as opposed to a specific genre? If anything you could argue that the stuff discussed above is more a pastiche of the idea than it is a specific proof of concept
There doesn't seem to have ever been a settled definition, so you can bring what you want to it, really. Some people emphasise the 'lost futures' angle or political dimension, some the nostalgia/memory factor, others the ghostly aspect.
I'm sure it is a genre now as there'll be people who picked up on it and explicitly set out to make 'hauntological' music, but yeah, that's gonna be pastiche and is bound to be the least interesting development of the thing.
The supposed revivals of jungle & garage in recent eras are as much an exhibit of supposed "London" creativity being haunted/trapped in it's past glories as they are examples of new flourishing scenes. There was a UK "top 40" recently where a quarter of the new tracks contained samples of old tunes
The charts are full of remixed 90s bops but are we at a turning point for more original hits?
www.bbc.com
Even the most "progressive" London club music at the moment in terms of the afro/ama stuff is really just the ghost of funky bastardising south African stuff. In the short term Caltonic SA "Terminator" probably kicked it all off and that is already 4 years old, with not that many "new" ideas since. It is still good tho
I like the idea of it being a process, but London recycling itself feels different. It's a haunting in a certain sense, but hearing a tune that samples an older tune doesn't feel 'hauntological' to me. I think you need a combination of mood, technique and the uncanny.
Burial and The Caretaker are the obvious examples, I suppose, but they feel such perfect examples they come off like pastiche themselves.
The first things that come to my mind are that Jandek album with the living room shot and, specifically re: the 'lost futures' thing, a couple of Krust tunes and that Digital one Burial was really into:
