Category: Reviews (Page 110 of 200)

HANNAH PEEL Particles In Space

12 June 2018 /

Having taken ‘Mary Casio: Journey to Cassiopeia’ into the cosmos and beyond in her role as a modern day Delia Derbyshire or Daphne Oram, Hannah Peel continues her mission in blending the seemingly incongruous timbres of synthesizers and colliery brass bands.

An enjoyable melancholic exploration in sound, the parent album has been given the remix treatment under the collective title of ‘Particles In Space’ by a variety of underground electronic producers and artists, 80% of whom are female.

The original closing track ‘The Planet of Passed Souls’ acts as bookends to this collection. Entitled ‘Particle G1’, Erland Cooper keeps most of the elements which is not entirely surprising as he mixed ‘Mary Casio: Journey To Cassiopeia’, but here adds a stuttered beat and a run of reversed cymbals.

Meanwhile, the ‘Particle G7’ by Die Hexen focusses on the vocal elements, beginning with the haunting 1928 recording of Peel’s own choirboy grandfather in Manchester Cathedral before adding the grandeur of gothic choirs and samples of Hannah Peel’s own angelic voice acting as an beautiful additional theme.

The biggest surprise is ‘Particle D2’, a reimagining by s a r a s a r a of ‘Andromeda M31’ comprising of tribal rhythms and a claustrophobic cacophony of glitched voices which bears no resemblance to its parent track.

‘Particle C3’, which is ‘Deep Space Cluster’ reworked by Marta Salogni, retains the key brass arpeggio while stripping away its percussive elements, although Hinako Omori’s take on ‘Sunrise Through The Dusty Nebula’ for ‘Particle B4’ goes further, turning it into almost a completely new composition with the hypnotic spacey ambience given a rhythmic base. The synthesized elements are pushed to the front to complement the sombre brass for an abstract but enjoyably avant piece of work.

Arvo Party’s ‘Particle E5’ takes ‘Life Is On The Horizon’ into an eerie layered soundscape with occasional brassy calls before building into a drone laden rumble, although the track’s key homing beacon motif has gone. ‘Particle F6’ sees Roseau emphasise and add to the synthbass characteristics of ‘Archid Orange Dwarf’ as well as dropping in some vocoder stylings for a cool futuristic adaptation.

‘Particles In Space’ is a mixed bag but then, remix collections always are. However, it does take the sonic exploration of Hannah Peel further, like seeking new life and new civilisations in the galaxy or incorporating the sounds of years old instruments into unique some places, to go where no instrument has gone before.

And if that doesn’t appeal, then Miss Peel’s songwriting development continues in parallel on the Minimoog heavy ‘Kiss Me First’, commissioned by Channel 4 for the virtual reality thriller of the same name.

‘Particles In Space’ is released digitally on 29th June 2018 via My Own Pleasure, available direct from https://hannahpeel.tmstor.es/cart/product.php?id=37199

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Text by Chi Ming Lai
12th June 2018, 30th June 2018

EMIKA Close

10 June 2018 /


Following her well-received crowdfunded 2017 classical symphony ‘Melanfonie’ with the Prague Philharmonic Orchestra, Berlin-based Anglo-Czech musician and producer EMIKA returns to electronics with the hauntingly gorgeous ‘Close’.

The song comes from Ema Jolly’s new ten-track album ‘Falling In Love With Sadness’ which is pencilled in for release on 10th October 2018, also World Mental Health Day. It is said to be her most personal work to date and was recorded in parallel to ‘Melanfonie’ and her last electronically based release ‘Flashbacks’.

Sparse and chillingly melodic with cascading voices complimenting the drum machine backbone, the Milton Keynes born songstress asks “How much intimacy is too much? And where do we draw the line?”; the stark visual accompaniment gives an effective minimal explanation that concurs with her view that “there was some kind of sadness that was passed down to me through generations in my family, particularly the women. I didn’t necessarily feel it was my sadness but it’s something I’ve learned to live with.”

Since she founded her own Emika Records in 2014, EMIKA has shown herself to be a fine example of a modern independent artist with her brand of deeply European avant pop. A more expansive, immediate template came via her third album ‘Drei’ in 2015. The beautifully stuttering ‘Miracles’ was one of the record’s key highlights while the moody allure of ‘Serious Trouble’ recalled Róisín Murphy.

Also known for doing unusual cover versions, her striking reinterpretation of Bowie’s ‘Let’s Dance’ gave the iconic tune a deep asexual resonance, with only a passing resemblance to the original.

‘Close’ acts as an enticing trailer to ‘Falling In Love With Sadness’ which if the song’s inherent chromatic melancholy is anything to go by, will be a powerfully cathartic musical statement.

A portion of the album’s proceeds will be donated to a UK-based mental health charity.

‘Close’ is from the new album ‘Falling In Love With Sadness’, to be released by Emika Records on 10th October 2018

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Text by Chi Ming Lai
Photos by Bet Orten
10th June 2018

SHOOK Bicycle Ride

6 June 2018 /

SHOOK is Jasper Wijnands, a composer, producer and musician based in The Netherlands.

His life took a turn when he was diagnosed with Pancreatitis in 2016, but during his illness, he remained determined to continue making music. The follow-up to his previous album ‘Continuum’, Wijnands has musically documented his journey to recovery on ‘Bicycle Ride’. Influenced by jazz and anime soundtracks, the music of SHOOK captures a moody virtuoso ambience, recalling AIR and Ryuichi Sakamoto.

This template is no better represented on ‘Wind On The Water’, a marvellous instrumental passage with gentle piano and calypso flavoured synth textures. On ‘Love Trip’, Wijnands brings his own voice into proceedings and compliments the optimistic mood of the album started with ‘Wind On The Water’.

Capturing latter day CHINA CRISIS, ‘I Will Be There’ features the vocals of Juliet Klaar for a story of reassurance in love through hardships; it’s a beautiful piece that shows an appreciation for the simple things in life.

Wijnands said:“During my recovery I spent a lot of time with my dear Juliet. She was always there for me during my illness. It felt natural for us that we made a song together. We spend many days together in our living room / music studio, and we wrote lyrics and recorded together until the late hours which resulted in the creation of ‘I Will Be There’.”

With a sweet melody and pulsing arpeggios, ‘Hello Sky’ is another instrumental that projects optimism and the high feeling of life itself. Meanwhile, the synthy cacophony of ‘Deep Dive’ is marvellously padded by some swimmy string machine and provides some rhythmic swing.

Bringing some acoustic guitar into the mix, ‘Close Your Eyes’ adds some AIR, especially with its gorgeous feminine whispers, while the self-explanatory ‘Between Spaces’ would be ideal company for a peddle past some meadows. In fact, if the sounds used were just a little more avant garde, this wouldn’t be far off Alison Goldfrapp and Will Gregory’s soundtrack for ‘My Summer Of Love’.

To close, there is the ‘Bicycle Ride’ title track itself, a tuneful oriental tinged piano dominated piece that Sakamoto San probably wouldn’t have minded composing himself.

Jasper Wijnands makes good use of his vintage keyboards and modern tech throughout the record, reflecting his positive spirit in the face of adversity. Leagues above the majority of that dreaded chill-out music which afflicts many beach bars, ‘Bicycle Ride’ should be on the playlist for your upcoming summer vacation.

SHOOK plays the following instruments: DSI Prophet 08, DSI Prophet 12, Roland VP550, Fender Jazz Bass, Korg Polyphonic Ensemble PE1000, Yamaha CP70B Electric Grand Piano, Moog Minimoog Model D, Moog Polymoog 203A, Arturia Minibrute, Yamaha Acoustic Guitar, Yamaha Stage Custom Drums

‘Bicycle Ride’ is released on 26th June 2018 in CD, vinyl LP and digital formats, pre-order via https://shook.bandcamp.com/album/bicycle-ride-lp

https://www.shookmusic.com/

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Text by Chi Ming Lai
23rd June 2018

HILARY WOODS Colt

4 June 2018 /

Sacred Bones is home to many quirky acts; artists that have the very best of the alternative outlook on music and life.

Amongst Zola Jesus and John Carpenter plus the one and only David Lynch, the Irish songstress Hilary Woods feels like she belongs. Since the music has been the driving force for the once band member of JJ72, with whom Woods (then a teenager) started her wild love affair with performing, it made sense for the multi-talented artist to cross over into film and visual arts.

Her early recordings culminated in the release of a couple of EPs, ‘Night’ and ‘Heartbox’. Writing film scores and theatre pieces gave way to the latest project from the multi-faceted Irish lady; ‘Colt’ is a very private and mysterious debut album, “an intensely personal journey through grief, abandonment, and mutating love”.

Written in an abandoned Dublin flat she was living in with her daughter using the equipment collected over the years, with synths, tape machines, and various odds and ends and utilising any other technology at hand, the “completely broke” Woods set off to create a “way to process and make sense of the everyday”.

Dealing with personal loss, sadness, pain and long lost love, the self-confessed minimalist begins the journey with ‘Inhaler’, a poignant cry for air. The simple piano with nothing much else but sparse strings and a voice of Julee Cruise, meanders through concepts of desolation and loss, eerily floating away Lynch style. What a perfectly dreamy start, but not without the punctuated feeling of uneasiness and dread, and that’s what makes Woods so special.

‘Prodigal Dog’ continues the weightless feel with a gentle rhythm and dedicate vocal, at times reminiscent of Dolores O’Riordan’s capabilities, while ‘Take Him In’ is a musicbox tale of abandonment sung in layered voices with only a piano to fall back on. ‘Kith’ brings strings in, simply showcasing the delicacies of Woods’ audio wizardry à la Marnie, pleading to her lover to “lay with me”, again culminating in palpable uncertainty and fear.

The only track with more prominent beats on ‘Colt’ is ‘Jesus Said’. In this semi-religious piece, arguing the existence of God and wanting her life back, with her child like expression, Woods experiments with offbeat piano sounds and other elements randomly added to create a cacophony of arty musical approach.

‘Sever’ returns to a simpler form with a metronomic beat, monochromatically embossed with a Kate Bush-resembling vocal, where the need to “sever these ties… they bide me” is expressed with found sounds in their simplest form over a grainy recording.

‘Black Rainbow’ could have easily been used by David Lynch in many of his productions, being particularly suited to ‘Twin Peaks’, with the stunning similarities to Julee Cruise’s style. This delicately placed track with its celestial qualities describes a sad ending of a beautiful relationship.

“‘Black Rainbow’ was so named because I loved that image, the idea that when that’s all one can see overhead / when a relationship is dying between two people that once loved each other very much – there is no choice but to believe that there is something better for you at the end of it all” says Woods. The closing ‘Limbs’ offers no change of musical direction, continuing the heavenly serenity, the simplistic approach with delicate piano and bare vocal, and instrumentation sounding like a Japanese koto, with its soothing and fragile properties.

The concept for ‘Colt’ was to achieve “a siren’s song, once mysterious, dark and beautiful, pulling you in” and the Dublin based songwriter certainly achieves that with her first long player.

For Woods, the album was a perfect medium created “as a means to speak with inner voices, explore aloneness, and understand the complexities of desire. As a vehicle for imaginative flight, as a quest for resilience and connectivity to the outside world, as a medium through which to journey into the present, to temper the mind and inhabit the body.”

And for the listener, ‘Colt’ is the perfect calmer in the world full of noise, interruptions, deception and rejection. What the ex-JJ72 bassist has achieved here is a wonderfully balanced, beautifully exercised and marvellously presented piece, which has the power to cut through the ordinary and lift to higher levels of consciousness.

Hilary Woods, you’ve given us a beautiful album and proven that it’s not the endless supply of cash and fancy equipment that makes a great record; rather, it’s the talent and musical knowhow.

‘Colt’ is released on 8th June 2018 by Scared Bones Records

Hilary Woods 2018 live dates include:  London St Pancras Old Church (11th June), Robert Smith’s Meltdown (20th June), Dublin The Sugar Club (14th September)

http://www.hilarywoods.com

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Text by Monika Izabela Trigwell
4th June 2018

THE PRESETS Hi Viz

1 June 2018 /

Along with artists such as GRAFTON PRIMARY, CUT COPY and VAN SHE, THE PRESETS were part of the first wave of early millennial Antipodean electronic artists to start having global success.

Formed of Julian Hamilton (vocals and synths) and Kim Moyes (drums and synths), their earlier material combined a stripped back synth-punk aesthetic with rousing anthemic songs such as ‘Are You The One?’ and ‘Down, Down, Down’, but also counterpointed with more introspective-sounding tracks such as the NEW ORDER-inspired ‘Girl & The Sea’.

However, the debut 2005 album ‘Beams’ which featured those aforementioned songs was a hit and miss affair, relying on the singles and the band’s growing live reputation to carry it.

The follow-up ‘Apocalypso’ was a far more consistent-sounding work and arguably their strongest to date; featuring the melodic synthpop of ‘This Boy’s In Love’ and the surprisingly politically-charged ‘All My People’, it showed that the duo’s songs could work over an entire album. Further UK dates with acts such as LADYHAWKE, HEARTBREAK and SOULWAX helped to solidify the acts’ momentum and reputation as an electronic band to be reckoned with.

After a four year hiatus, the band returned with ‘Pacifica’ which was preceded by the UNDERWORLD-inspired ‘Youth In Trouble’ and the quirky, almost sea-shanty electro-singalong ‘Ghosts’. The album revealed itself as a softer maturer piece of work, with most of the spikier edges of its predecessors rounded off on tracks such as ‘Cool’ and ‘Fall’.

The 2014 stop-gap singles ‘Goodbye Future’ and ‘No Fun’ saw a partial return to their earlier sound, but also introduced more of a House Music slant, especially the latter with its almost early Acid House-style pitched down vocal effects.

Activity in THE PRESETS camp started to ramp up again at the end of 2017 with the release of a trilogy of singles which all feature on the new album ‘Hi Viz’. Opener ‘Knuckles’ (named after Sonic The Hedgehog’s brother) starts off in a similar bleepy 8 bit fashion to YELLOW MAGIC ORCHESTRA’s iconic ‘Computer Game’. Throwing a hell of a lot of styles into the mix, from live horns to half-time R’n’B drums, ‘Knuckles’ is not really representative of ‘Hi Viz’ as a whole, but provides an intriguing overture to it.

First single ‘Do What You Want’ is potentially classic-sounding material, but is partially let down by its over-repetitive vocal hook which makes you wish for a more instrumental-based re-edit without the title in it so much. This is a real shame as the song itself is excellent and showcases a return to the band’s earlier driving synthpunk sound. ‘Martini’ and ‘Beethoven’ are uptempo, and initially throwaway-sounding tracks, the latter which oddly has you wondering whether it is going to morph into the EURYTHMICS song of the same name.

Both identical in tempo, they segue into each other, the former has a square wave House bass with vocal samples and a blippy lead riff with Hamilton intoning the virtues of said drink. At 2’40 secs a gorgeous PSBs-style chord change arrives and saves the track from being overly repetitive and monophonic sounding. ‘Beethoven’ (which amusingly ends with a Mozart sample) conceptually owes a debt to EURYTHMICS, but is ultimately is its own entity revolving around a tough electronic bass riff, it’s one of the filler tracks here.

‘Downtown Shutdown’ completely throws out THE PRESETS rulebook; featuring guitars, live bass and vocals from The St Paul’s Lutheran Church Choir (which comprises of refugees and young people from places like Burundi, DR Congo and South Sudan who are now living in Victoria). A feel-good hybrid of BLONDIE’s ‘Rapture’, TALKING HEADS and splashes of KRAFTWERK, ‘Downtown Shutdown’ is the kind of track which if put out by BRUNO MARS or PHARRELL WILLIAMS would undoubtedly be a huge multi-million selling global smash. Present here in a more extended format than the single, it showcases more of the electronic elements of the track and is a definite highlight of ‘Hi Viz’.

 

In a new move for THE PRESETS, there are several other collaborations on ‘Hi Viz’; ‘Out of Your Mind’ features the vocals of Sydney’s ALISON WONDERLAND (who THE PRESETS remixed earlier this year). It’s a killer hybrid of Acid House and Hip Hop with a side-serving of THE CHEMICAL BROTHERS plus some wicked drum programming thrown in for good measure.

‘Tools Down’ which features Jake Shears from THE SCISSOR SISTERS is a bit of a go-nowhere track that again segues into the subsequent one ‘Feel Alone’. Thankfully ‘Feel Alone’ harks back to the sound of ‘Apocalypso’ whilst lyrically recalling 90s dance (in that it only has a single vocal hook); ‘Feel Alone’ brings a welcome dose of melody and chord changes to the ‘Hi Viz’ party.

‘Brains’ provides a short percussive bridging piece, its Afro-vibe takes its cues from LEFTFIELD’s classic ‘Leftism’ album and leads into ‘Are You Here?’ which features Britpop revivalists DMA’s. Revolving around the kick/snare pattern from ‘Trans Europe Express’, DMA’s singer Tommy O’Dell provides a wonderfully rhythmic vocal which takes him out of his musical comfort zone in a similar way to when Noel Gallagher guested with THE CHEMICAL BROTHERS on ‘Let Forever Be’.

Second single ‘14U&14ME’ is a bit of a curveball, starting off with some Trance-style arpeggiator and VANGELIS synth in its moody intro. The song then revisits the hard FM bass sound from ‘My People’ to great effect and only misses a second use of the intro to help (again) make the track feel a little less repetitive.

Rather than finishing the album in introspective mode, ‘Hi Viz’ finishes with a real banger in the form of ‘Until The Dark’ which shows that a one finger synth bass line can really work. After being joined by a multi-layered sequencer riff and splashy 909 open hats, the track has a monumental breakdown half-way through with ‘Ghosts n Stuff’ style organ and glitch treated live drums before kicking back in again.

This is undoubtedly THE PRESETS’ party album, it’s shamelessly unafraid to take risks and try out new sonic territories and in the main succeeds brilliantly.

There are a couple of fillers here, but the overall mash-up of classic clubby dance, heavy influence of THE CHEMICAL BROTHERS and a modern twist has provided the band with what is arguably their strongest work yet.

‘Hi Viz’ grabs you by the scruff of your neck, drags you onto the dancefloor and rarely lets go over its 52 minutes – highly recommended.

‘Hi Viz’ is released by Modular Recordings as a CD, vinyl LP and download

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Text by Paul Boddy
1st June 2018

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