Category: Reviews (Page 30 of 199)

RÖYKSOPP Profound Mysteries

When RÖYKSOPP released their most recent long playing opus ‘The Inevitable End’ in 2014, it was said to be their final album. Featuring the voices of Susanne Sundfør, Robyn, Jamie Irrepressible and Ryan James, it made a fine farewell.

But after various singles, archive releases and soundtrack commissions, Svein Berge and Torbjørn Brundtland have returned with some ‘Profound Mysteries’; the duo said: “As human beings, what we don’t know vastly overshadows what we do know. As teenagers, we would discuss our own fascination and preoccupation with the infinite and the impossible – the most profound mysteries of life.”

As a result, ‘Profound Mysteries is an ambitious mix of music and conceptual art with all the tracks accompanied by bespoke visuals, each directed by a contemporary creative talent.

With solemn piano and stark strings, the ambient ‘(Nothing But) Ashes…’ begins the album with a noirish incidental theme. More immediate though is the following instrumental ‘The Ladder’ which swirls sedately while minimal guitar provides some melody before the arrangement builds into something more synthy and squelchy.

But ‘Profound Mysteries’ starts proper with the delicious ‘Impossible’ featuring Alison Goldfrapp, a mighty avant disco excursion that is both seductive and functional. As the uplifting high soprano middle eight leads into a drifting intergalactic twist, it can be rightly considered one of the songs of 2022.

Another lady boasting a high soprano, Beki Mari leads ‘This Time, This Place…’ from its militaristic beginnings to a propulsive if spikey club tune stretching to nearly eight minutes. Utilising the more contralto talents of Pixx, ‘How The Flowers Grow’ is much moodier and cerebral.

‘If You Want Me’ sees the return of Susanne Sundfør who very much became an intentional star on the back of her RÖYKSOPP collaborations which began with a cover of the DEPECHE MODE B-side ‘Ice Machine’. It is a glorious cinematic ballad centred around the magnificently emotive vocals of the Norwegian songstress and wouldn’t sound out of place in any Scandinavian love story. With another soprano salvo, it acts as a reminder as to why the rest of Europe fell in love with her when she released the ‘Ten Love Songs’ album in 2015.

Continuing that higher range vocal aesthetic, ‘There, Beyond The Trees’ makes use of a soprano vocal sample as well as RÖYKSOPP’s own voices with a stuttering percussive backbone to throw off the scent. Still stuttering but in a more punchy uptempo fashion, one-time Norwegian ‘Pop Idol’ contestant Astrid S brings an airy Scandipop flavour to ‘Breathe’. Meanwhile ‘The Mourning Sun’ with Susanne Sundfør can only be described as a haunting electronic requiem before a computer vox humana gives instructions to ‘Press «R»’ to continue.

With its focus on wondrous female vocals and particularly angelic ones, ‘Profound Mysteries’ evokes something of a profound elegiac quality.

Although quite different, it is a worthy successor to ‘The Inevitable End’ that will be savoured.


‘Profound Mysteries’ is available as a CD, cassette and digital formats

http://royksopp.com/

https://www.facebook.com/Royksopp

https://twitter.com/royksopp

https://www.instagram.com/royksopp/


Text by Chi Ming Lai
Photo by Stian Andersen
28th April 2022

I SPEAK MACHINE War

Adopting the dishevelled persona of a satanic Libertas, the new I SPEAK MACHINE long player ‘War’ captures the zeitgeist. Despite this, it is actually a more personal album dealing with the themes of addiction and mental illness.

I SPEAK MACHINE is the audio visual project of Tara Busch and Maf Lewis; their album ‘Zombies 1985’ produced by John Foxx collaborator Benge was a soundtrack to a short horror sci-fi film about a Zombie Apocalypse. One of the best albums of 2017, it was notable for Busch’s own restylings of singers as diverse as Doris Day, Alison Goldfrapp and Grace Jones.

Constructed remotely between Los Angeles and Sheffield over a three year period, ‘War’ has been co-produced by Dean Honer of I MONSTER, THE ECCENTRONIC RESEARCH COUNCIL and INTERNATIONAL TEACHERS OF POP fame. He has done a particularly good job with the jagged sound design. Meanwhile Busch has processed her voice as a central instrument, bending it through effects, vocoders and a Korg MS-20 as Will Gregory did with Alison Goldfrapp on the ‘Felt Mountain’ album.

Short and sweet with reminiscences of Gary Numan’s ‘Metal’, the screeching title song opener sets the scene and declares the album’s intentions with a rumbling backdrop. Embroiled in menace and some eerie flute, ‘Left For Dead’ cuts and bleeds and frightens while the progressive avant-funk of ‘Beat Down By Heaven’ is aided by sharper objects such as guitar, sub-bass and distorted claptraps.

Featuring backing vocals from Kendra Frost of KITE BASE and shaped by a dysfunctional analogue sequence, the wonderful Sci-Fi goth of ‘Santa Monica’ acts as an ironic love letter to Los Angeles, making use of Busch’s impressive vocal range from high soprano to deep contralto.

With a salvo of industrial Schaffel to shape a cover of American alt rockers CONCRETE BLONDE’s ‘Bloodletting (The Vampire Song)’, this is how GOLDFRAPP might sound if contributing to a Wes Craven movie. Sparser than the other tracks, ‘Dirty Soul’ weirdly echoes David Essex’s ‘Rock On’ while crossing paths with Patti Page on Venus. Then with a sense of foreboding in line with Gary Numan’s more recent work, ‘Ruined Me’ sees Busch point the finger at her dependency and how it has contaminated her aura.

Acting as a beautiful harp interlude, the soothing ‘I See You’ is counterpointed by a foreboding presence. But ramping up the pressure, as its title suggests, ‘The Metal of My Hell’ is a fierce aural assault of frantic heavy metal with synths and an aggressive rage as Busch decides to “burn the witch” and “burn the bitch” because “you had it coming for a long time!”.

A co-write with Kendra Frost, the ghostly ‘Push The Grease’ presents a stuttering percussive tension and another processed otherworldly vocal. Feisty and frantic, ‘Rats Rise’ is the final battle as the dirty rodents leave the sinking ship but with shades of ‘Clowns’ by GOLDFRAPP, the angelic ‘Until I Kill The Beast’ offers peace and tranquillity although the discordant metallic embellishments confirm that work is still to be done as “the devil sits with me until I kill the beast”.

There is cathartic joy in the discomforting exorcism that is the ‘War’ album; I SPEAK MACHINE’s bizarre mix of timbres and styles provide a severe but rather appealing and cerebral listening experience. If you are going to see Gary Numan on his European tour in May and June, arrive early because guess who is opening?


‘War’ is available as a double red vinyl LP and CD from https://ispeakmachine.bandcamp.com/

I SPEAK MACHINE will be opening for Gary Numan in May and June 2022 – for further information, please visit https://www.ispeakmachine.com

https://www.facebook.com/ispeakmachine

https://twitter.com/ISpeakMachine

https://www.instagram.com/ispeakmachine/

https://open.spotify.com/album/2Dk8489XblJsoNBqXEOVIX


Text by Chi Ming Lai
Photo by Maf Lewis
22nd April 2022

FADER Quartz


Having released the debut FADER album ‘First Light’ in 2017, Neil Arthur and Benge now present their third long player ‘Quartz’.

As with previous FADER works, Benge worked alone on the instrumentation at his Memetune Studios complex in Cornwall while Neil Arthur did his lyrics and vocals at his home studio. ‘Quartz’ is an understated artistic statement inspired by incidental atmospheric music used in vintage TV shows. With minimalistic structures started by manipulating and sampling sounds used on Benge’s past recordings, organic yet electronically derived textures provide a reflective and elegiac backdrop.

Benge had no titles for his compositions so sent them over to Arthur identified with names from various paint pots as he was also decorating his home. “I didn’t expect Neil to use them as the basis for the song lyrics” the producer said, “but he is so good at letting his imagination go and he came up with all these amazing lyrics as a result”. The end result is a series of vivid stories and fractured images from a partially obscured viewpoint to provide a dreamy aesthetic.

The icy waltz ‘Serpentine’ opens with its sparse keys like Gary Numan meeting Brian Eno and reminiscent of the former’s ‘Dance’ album from 1981. ‘Porcelain’ retains this stripped down approached but is more sinister, Arthur given a monolithic pulpit for his impassioned semon. But ‘Olympia’ recalls the filmic textures of Ryuichi Sakamoto as the cerebral setting hauntingly sucks the listener in.

Upping the tempo slightly, ‘Gargoyle’ adds shuffling drum machine reinforced by a synthbass squelch as spacey counterpoints and electronic pulses complement the vocal expression. The more gothic ‘Prussian’ snaps along over its spacey atmospherics with Arthur “observing the night” as “all the stars are out!”. A relative of ‘Olympia’, ‘Mondo’ continues the minimal stance while the funereal ‘Manilla’ cleverly uses the photocopying process as a metaphor for life, “A4, foolscap, manila…”.

Utilising a number of spiralling sequences, the ‘Quartz’ title song bursts with mechanised rhythm and icy string machine. Then with a subtle gallop, ‘Lazuli’ dramatically announces rather prophetically “There’s been a scene” with “all hell let loose” before “a final curtain” as the mournful closer ‘Poison’ poignantly confirms “we can’t go back” and must “never return to where we came from”.

‘Quartz’ is FADER’s best album yet, shaped by the clockwork elegance of its title. With its subtlety in detail, it is strangely futuristic while projecting a distinctly timeless quality.


‘Quartz’ is released on 13th May 2022 by Blanc Check Records as a CD ad cassette, pre-order from https://fader.tmstor.es/

https://www.facebook.com/WeAreFader

https://twitter.com/WeAre_Fader

https://www.instagram.com/fader_2022/


Text by Chi Ming Lai
19th April 2022

H/P Programma


With cult French nouveau vague exponents such as MARTIN DUPONT, RUTH, MATHÉMATIQUES MODERNES, ELLI & JACNO, MODERNE, KAS PRODUCT, TAXI GIRL and DEUX all being re-evaluated of late, it is perhaps only natural that their 21st Century successors have been getting attention in their wake.

Once such act are Limoges-based H/P; formally known as HAPPINESS PROJECT, they independently released their first album ‘Remove Or Disable’ in 2008 and signed to local label BOREDOMproduct who issued their next two long players ‘9th Heaven’ and ‘Mutation’.

For ‘Programma’, not only have the trio shortened their moniker, they have forgone conventional identities in that CLIENT fashion and now appear as shadowy figures in their photos. But this is not merely cosmetic as F/T (lead vocals + synths), C/P (lead + backing vocals) and C/T (synths, string machine, piano, bass guitar + backing vocals) have adopted the minimal synth approach using the tactile controllability of analogue sequencers and the gritty snap of vintage drum machines.

This is a far cry from the denser austere of older songs such as ‘Poupée Mécanique’ and ‘Big Cities’. Now what remains as the trio put it is “Sober and sophisticated, a signature stripped of the superfluous: from now on this is h/p, simply” although their male / female vocal duality and lyrical gists on the human condition are still present and correct.

Shaped by charming girl-boy vocals, cold wave electronic effects and an array of synthesized melodies, ‘I Prefer Two’ is a delightfully odd but accessible opening statement. With a blippy Motorik drive, ‘The Alarmist’ is hauntingly glacial with a pretty array of synthetic strings amongst various intersecting lines while even the slightly off-key voicing is enjoyable.

Partly en Français, ‘Les Choses’ offers absorbing octave runs and spacey swoops, but much doomier in the vein of ‘Reproduction’ era HUMAN LEAGUE meeting THE CURE, ‘Hope In The Distance’ captures a downbeat mood augmented by solemn bass guitar.

Recalling ULTRAVOX, a chunky bass synth sequence acts as the backbone to ‘Black Tea’ which uplifts in a wonderful chorus with another girl-boy harmony following the goth rooted verse. This is all counterpointed by ring modulation while the middle eight presents some pitch bent texturing for one of the album’s highlights.

Female-led vocally at the start of each verse, ‘9 Mars’ is distinctly more minimal but displays a mechanical heart as it paces up. The filmic ‘Programma’ title song combines pulsing robopop with eerie synthetic whistles to further the mystery but ‘Behind’ presents drones and conversely, a piano laden structure.

Another highlight, the authentically synthtastic ‘Ultraviolin’ sounds as if it has been beamed from a past era, utilising stabbing and swirling keys over a precise rhythmic pattern. Meanwhile, acknowledging the debt of influence to MARTIN DUPONT, their bassist Alain Seghir guests on the glorious ‘Vicinities’; applying a looser construction compared with the other tracks on the album and a more complex spiral of delicate blips, enclosed is an emotional centre that recalls OMD for possibly the album’s stand-out song to close.

With an elegant retro-futuristic presence and a subtle melancholy, ‘Programma’ embraces a period when limitations and rules helped control the fun.

Despite these avant synth palettes being considered soulless and cold back in their day, four decades on, those vintage sounds have stood the test of time with souls and characters of their own as focussed emotive art. H/P have made that ethos relevant to the uncertainties of today.


‘Programma’ is released by BOREDOMproduct in vinyl LP, CD and digital formats, available from https://boredomproduct.bandcamp.com/album/programma-album

https://www.boredomproduct.fr/hp-programma/

https://www.facebook.com/hp.programma

https://www.instagram.com/hp_band/

https://open.spotify.com/album/62vgmiuxY8y5WqpbLKx9AM


Text by Chi Ming Lai
12th April 2022

NNHMN Omen


With their name standing for “non-human”, Berlin-based duo NNHMN are possessed with a supernatural presence.

“Self-transforming creatures speaking in a colored language”, Lee Margot and Michal Laudarg present their haunted but danceable electronic sound with a stark brutalism and enigmatic female vocals.

From their upcoming EP ‘For The Comfort Of Your Exstazy’, the body is strong on its lead track ‘Omen’ and its pulsing backbone recalls THE CHEMICAL BROTHERS ‘Out of Control’.

In these unsettling times, ‘Omen’ captures the zeitgeist with a poignant anti-war message. NNHMN said “We can’t stand neutrally when this senseless war is turning into pure hell. The artist can’t stay neutral, the artist must use a weapon that is their strongest asset”. Stating the true nature of evil, it declares “So they worshipped the dragon giving the power unto the beast so now who’s able to make a war with him…”

The self-directed video exudes an underground voyeurism, described as “the world in which incarnations of ancient gods live. The modern urban techno panorama where sinister doom meets ethereal and untouchable higher self…”

Inspired by ‘The Cremaster Cycle’ films and ‘The Neverending Story’ with a touch of BDSM and bondage fashion, the video to ‘Omen’ is striking, seeing good triumphing over evil in a wish that many are feeling right now. So in “the rise of rebellion”, “dash yourself against the wall” and “shake it up rave it all rave it all away”.

NNHMN’s debut album ‘Church Of No Religion’ was released in 2019, but the couple have since gone down the EP route in pursuit of their non-conformist creative freedom with the appropriately titled ‘Your Body’ being a particular highlight from their most recent release ‘Tomorrow’s Heroine’.


‘Omen’ is from ‘For The Comfort Of Your Exstazy’ released by Young and Cold Records on 25th May 2022 as a black or lemon green 12” vinyl EP and CD, pre-order from https://nnhmn.bandcamp.com/

NNHMN 2022 live shows include:

Düsseldorf Kulturbanausen Im Ratinger Hof (16th April), Munich Katzenclub (17th April), Bologna Tank Serbatoio Culturale (29th April), Ilmenau Baracke 5 (7th May), Leipzig Festival (3rd June), Messina, Retronoveau (11th June), Paris, L’International (14th June), Lille Gare Saint Sauveur (16th June), Lyon Sonic (17th June), The Hague Paard (17th June)

https://www.nnhmn.com

https://www.facebook.com/nonhuman.duo

https://www.instagram.com/nnhmn_

https://www.patreon.com/NNHMN


Text by Chi Ming Lai
Photos by Caroline Bonarde
10th April 2022

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