Category: Reviews (Page 40 of 199)

ROBIN HATCH T.O.N.T.O.

25 October 2021 /


T.O.N.T.O. is an acronym for “The Original New Timbral Orchestra”. It contains a customised collection of Moog III, ARP 2600, Oberheim SEM, EMS and Serge modules connected to a central brain designed by its esteemed mastermind Malcolm Cecil.

T.O.N.T.O. featured on the music of TONTO’S EXPANDING HEAD BAND, the duo consisting of Cecil and producer Robert Margouleff. Impressed by their debut record ‘Zero Time’, Stevie Wonder hired the pair as producers and used the system to record classics like ‘Superstition’ and ‘Living For The City’ while The Isley Brothers put it to good use on ‘That Lady’.

Sequencers, drum machines, digital sound-generation circuitry and MIDI control were later added to the system which was sold by Cecil in 2013 and relocated to the National Music Centre in Calgary where it remains in use following a four year restoration programme by the late John Leimseider.

Made using the T.O.N.T.O. synth complex, the same titled album is the fifth solo body of work by the Toronto-based neoclassical composer and multi-instrumentalist Robin Hatch. Also previously a touring keyboardist for Canadian alternative rock band OUR LADY PEACE, she wears many hats thanks to her eclectic artistic interests.

Her first experimentation with synths came on her second album, the Wendy Carlos influenced ‘Hatch’ comprising of improvised instrumentals. Having issued piano works on either side, her fourth record ‘Noise’ was an avant synth record that featured vocals and drum machine with occasional inclinations into pop.

The entirely instrumental ‘T.O.N.T.O.’ was written and recorded by Hatch during a four day residency just before Malcolm Cecil passed away at the age of 84. This album is dedicated to him and the legend of his electronic creation lives on in this work.

For Robin Hatch, ‘T.O.N.T.O’. is a conscious attempt to exorcise deep seated baggage, a self-imposed multitimbral catharsis to transmute painful ugly experiences like psychosis, post-traumatic stress, delusion and hallucinating voices into cosmic horror electronica.

Opening with a cascading arpeggio, the spacious ‘Buttercups’ comes from the Wendy Carlos school of classically influenced synth construction, pure vintage interplay laced with appealing vibrato and bend.

Named after the Terry Gilliam film and featuring Eric Slick on drums and Leland Whitty on sax, ‘Brazil’ offers some jazz fusion to showcase another aspect of Robin Hatch’s eclectic headspace. But ‘Airplane’ takes shape around a more avant soundscape, utilising the talents of doom metal violinist Laura Bates of VOLUR alongside the synthetic strings and hypnotic generative blips.

A tongue-in-cheek reference to the duet by James Taylor and Carly Simon, ‘Mockingbird’ rumbles and hooks over a subtle Maestro and CR78 drum machine backbone with contributions from Nick Thorburn of ISLANDS & THE UNICORN. But despite the use of T.O.N.T.O. alongside a Yamaha CS80, an Atari chiptune synth, Roland Jupiter 4 and Korg M1, Hatch goes computer with a Fairlight VST chipmunk voice sample to add some Enya-inspired atmospherics to the chorus.

The bouncy ‘Inspector’ featuring drummer Lowell Whitty makes use of an otherworldly texture that sounds like a flute being played down the bottom of a hundred foot well while ‘My Lucid Mind’ returns to more Wendy Carlos inspired climes with a cacophony of spacey sounds, some seemingly appearing and random but cleverly arranged for an experimental ear-enlightening whole.

‘Rest Stop’ brings in a LinnDrum Computer and staccato bass lines as grainy strings that sound trapped inside an iPod on speaker mode penetrate through for an engaging oddball passage of electronics. ‘The Standoff’ has a retro-futuristic Tudor presence with its electronic approximations of harpsicord in harmony with Joseph Shabason’s processed ambience to head down the home straight before the very short sinking art piece ‘Water’ closes the collection.

‘T.O.N.T.O.’ is a wonderful delightfully odd experience that is accessible on many levels, despite its melancholic cerebral dynamic. Independently conceived, realised and released, ‘T.O.N.T.O.’ showcases even more facets of Robin Hatch’s talent. Now, what will she do next?

Synthesizers used: T.O.N.T.O., Yamaha CS-80, Oberheim Four Voice, RMI Explorer, ARP Solina

‘T.O.N.T.O.’ is released by Robin Records on 29th October 2021 as a CD, vinyl LP and download, pre-order from https://robinhatch.bandcamp.com/album/t-o-n-t-o

https://twitter.com/robinhatch

https://www.instagram.com/robin__hatch/

Text by Chi Ming Lai
Photos by Stephanie Montani
25th October 2021

DURAN DURAN Future Past

22 October 2021 /

Celebrating forty years as recording artists, DURAN DURAN release their fifteenth studio album ‘Future Past’, a “live for the moment” reference of how something today can become a cherished memory in times to come.

Simon Le Bon, John Taylor, Roger and Nick Rhodes’ previous album ‘Paper Gods’ was a disappointment, especially after the return to form of the Mark Ronson produced ‘All You Need Is Now’ released in 2011. With the latter’s own 2007 predecessor ‘Red Carpet Massacre’ (with its contributions from Justin Timberlake and Timbaland) being as underwhelming as ‘Paper Gods’, will ‘Future Past’ see DURAN DURAN regain their groove?

The credits certainly indicate some potential with two tracks produced by electronic disco maestro Giorgio Moroder. But the majority of ‘Future Past’ has been helmed by British producer Erol Alkan of BEYOND THE WIZARDS SLEEVE fame. Also contributing guitar on most tracks is Graham Coxon of BLUR who might be seen as an unusual collaborator, but Britpop anthem ‘Girls & Boys’ was to all intents and purposes, a DURAN DURAN homage.

Certainly the chiptune inspired ‘More Joy!’ is reminiscent of former glories, its syncopated disco poise capturing DURAN DURAN at what they do best and with hypnotic electronics offset by a wonderful bass guitar run and chants by Japanese rock band CHAI, it exhilarates in a manner that is greatly appreciated.

Meanwhile, Giorgio Moroder lends his deft touch to ‘Beautiful Lies’ and ‘Tonight United’. With early DURAN DURAN songs like ‘Planet Earth’ and ‘Careless Memories’ having owed more than a debt to the Italian’s influence, the two songs deliver what is expected and that is no bad thing. The more immediate of the pair, ‘Beautiful Lies’ is a cousin to ‘Being Followed’ from ‘All You Need Is Now’ while ‘Tonight United’ swoops and rouses in a slightly funkier manner.

Sonically, the Moroder produced tracks have a clarity and power over the Erol Alkan produced offerings which suffer in places from the percussive harshness that seems to plague modern music, with recordings by acts such as BLANCK MASS and AVEC SANS being recent examples. ‘Invisible’ particularly falls victim to this and it would have been interesting to hear how Mark Ronson might have handled it as there is a good chorus in there!

Ronson does appear on guitar for ‘Wing’, a cinematic tune with Bond theme characteristics but this too is ruined by the drum sounds, although they are less obtrusive than on ‘Invisible’. More pleasing to the ear is the pumping and self-acknowledging ‘Anniversary’ which offers hints of ‘The Wild Boys’, ‘Girls On Film’ and ‘Save A Prayer’ like Easter eggs in an ode to four decades of friendship.

Following in the footsteps of Kelis, Ana Matronic, Janelle Monáe, Kiesza and Lindsay Lohan, Swedish songstress and Max Martin collaborator Tove Lo features on the introspective ‘Give It All Up’ which is enjoyable enough with an uplifting chorus and some soothing orchestrations, but ‘Hammerhead’ with drill rapper Ivorian Doll sees DURAN DURAN fall into prey to their often misguided desire to be current and contemporary.

Arranged to be epic, the ‘Future Past’ title track is a bit laboured while ‘Nothing Less’ sees Saffron Le Bon duetting with her father on a pleasant enough ballad. But for those preferring something of a more contemplative and arty vein, the lengthy drum machine driven ‘Falling’ sees David Bowie’s longest standing band member Mike Garson present his famed jazzy ivory runs to close.

Although a mixed bag, ‘Future Past’ is a vast improvement on ‘Paper Gods’, although it doesn’t hit the consistent heights of ‘All You Need Is Now’. There are enough good tracks in the classic DURAN DURAN mould to keep long standing fans of the band happy, with those likely to be live favourites as the band host on their belated Ruby anniversary parties around the world.

‘Future Past’ is released by Tape Modern / BMG to all digital platforms as well as being available as a CD, limited edition deluxe hardback book CD with additional tracks, coloured vinyl LP and cassette

http://www.duranduran.com/

https://www.facebook.com/duranduran

https://twitter.com/duranduran

https://www.instagram.com/duranduran/

https://open.spotify.com/album/7GyGHJ1jv0v2Sa0pcgs4fD

Text by Chi Ming Lai
Photo by John Swannell
22nd October 2021

BLACK MARBLE Fast Idol

22 October 2021 /


‘Fast Idol’ is Chris Stewart’s fourth album as BLACK MARBLE and his second on Sacred Bones Records, home to THE SOFT MOON and ZOLA JESUS.

Capturing the uncertainty of the future provoked by world events, Stewart pays homage to “the forgotten bedroom kids of the analogue era” such as ASYLUM PARTY, FUTURISK and OPPENHEIMER ANALYSIS.

While the previous BLACK MARBLE album ‘Bigger Than Life’ looked at cultural shifts in the US inspired during bus rides to his Los Angeles studio, ‘Fast Idol’ is more enclosed and inward looking, solitary even…

The sub-six minute ‘Somewhere’ acts as a fine opener with a beautiful filmic introduction before suddenly speeding up for its vocal section to offer some vibrant stoner synthpop reminiscent of New Yorkers NATION OF LANGUAGE, dressed with digital chimes, plonks and incessant pulsations.

Wonderfully lo-fi, ‘Bodies’ sees its gloomy vocal tone offset by bright synthesizer tones and a hypnotic passage of nocturnal moods to finish. Also as charming, ‘Royal Walls’ offers bell-like keys and groovy electronic bass like PET SHOP BOYS if they had beards while with a lilting octave shift, ‘Try’ gives a take on NEW ORDER, complete with higher end Hooky bass.

The minimal structuring of ‘The Garden’ presents a doom-laden drum machine waltz and is given a barrage boost of toms and cascading keys. But more guitar driven with an optimistic Far Eastern tone, ‘Say It First’ plays on post-punk Northern Englishness like THE DURUTTI COLUMN gone perky.

‘Streetlight’ reveals the influence of acts like CLUSTER with its shuffling take on Motorik and THOBBING GRISTLE dropped into moonlit gothic cocoon while the percussive ‘Ceiling’ is a homage to NEW ORDER’s early tribal gothic disco.

Despite its array of offbeats, ‘Ship To Shore’ remains constant with its driving staccato backbone, but ‘Preoccupation’ is phat and pumping with counter-melodies galore before ‘Brighter & Bigger’ closes with a spacey ballad that cleverly doesn’t reveal itself to be a waltz until about a minute in.

The nonchalant vocals, while a trademark of BLACK MARBLE sound, will not be to everyone’s taste and will begin to grate over what is a long album at 53 minutes. However, musically and synthetically, the content of ‘Fast Idol’ is intriguing and appeal despite not having the more immediate accessibility of say, NATION OF LANGUAGE.

‘Fast Idol’ is released by Sacred Bones Records in vinyl LP, CD and digital formats

BLACK MARBLE 2021 live dates featuring special guest DISCOVERY ZONE include:

Bournemouth Anvil (23rd October), Cardiff Club Ifor Bach (24th October), Milton Keynes Craufurd Arms (25th October), Hull The Adelphi (26th October), Edinburgh Mash House (27th October), Glasgow Stereo (28th October), Dundee Hunter S Thompson (29th October), Newcastle Anarchy Brewing Company (31st October), Chester Live Rooms (1st November), Oxford O2 Academy (2nd November), St Albans The Horn (3rd November), Bath Moles (5th November), London Moth Club (6th November), Hebden Bridge Trades Club (7th November)

https://www.sacredbonesrecords.com/collections/black-marble

https://www.facebook.com/blackmarblenyc/

https://twitter.com/blackmarblenyc/

https://www.instagram.com/blackmarblenyc/

Text by Chi Ming Lai
Photo by Ashley Leahy
22nd October 2021

XENO & OAKLANDER Vi/deo

20 October 2021 /

If Jane Birkin had been backed by minimal electronics from Serge Gainsbourg, then they probably would have sounded like XENO & OAKLANDER.

Already veterans of seven albums, Liz Wendelbo and Sean McBride’s new long player ‘Vi/deo’ continues to expand on the duo’s multi-sensory exploration of synaesthesia, inspired by perfumes, celebrity culture and vintage technology such as Roland’s SH101, RS09, System 100 and TR808 alongside a Serge modular system and ARP sequencer.

Although recorded at their Southern Connecticut home studio, ‘Vi/deo’ exhibits hints of authentic Europeanism in the form of Italo and French disco-noir courtesy of Wendelbo’s wispy Franco / Norwegian charm.

She said: “The title of the album ‘Vi/deo’ is a reference to the Latin meaning of the word, ‘I see’. I’m really interested in the way senses influence each other: colors that are sounds that are scents that are tastes. Synaesthesia is a fascinating effect: how music can trigger different senses all at once, a note can have a color, a sensation, a scent.”

In a period when short and sharp eight track albums have been prevalent, XENO & OAKLANDER push the definition boundaries in an engaging seven song offering. With an unexpected industrial introduction and those textures later being inter-dispersed throughout, ‘Infinite Sadness’ plays with simulated slapped bass over a tense machine beat to provide a melancholic but vibrant start.

Meanwhile, the catchy electro-disco of ‘Poison’ has its rhythmic syncopation offset by the uneasy feel of a supernatural drama. Expanding on a European disco theme, the wonderful ‘Afar’ is the best song on ‘Vi/deo’, alluringly presented en Français for an infectious if bittersweet dancefloor experience.

Like it was tailor made for an Autumnal drive along the Côte d’Azur, ‘Technicolor’ exhibits a moody cocooned squelch in its widescreen setting with pretty synth melodies complimenting Wendelbo’s almost whispered tones.

The harder edged ‘Gain’ offers a boisterous bounce to proceedings laced with some accelerated keyboard jabs, while the more steadfast ‘Movie Star’ captures the innocence of an enthralling visit to the cinema and being hypnotised by the lead. Closing with ‘Rain Garden’, the cacophony of blips and a solid staccato synthbass provide the backbone for an airy uptempo conclusion.

If you have any of XENO & OAKLANDER’s previous releases, then ‘Vi/deo’ will undoubtedly appeal. Flirtatious and perhaps less icy than previously in the aural equivalent of Gauloises smoke filling a Parisian night club, while the vocal style will continue to be polarising for some, the album’s dancier template may possess crossover potential to more synthpop-inclined audiences.

‘Vi/deo’ is released by Dais Records in various coloured vinyl LP formats as well as CD and digital, available from https://xenoandoaklander.bandcamp.com

https://www.daisrecords.com/collections/xeno-and-oaklander

https://www.facebook.com/xenoandoaklndr

https://twitter.com/XenoOaklander

https://www.instagram.com/xenoandoaklander/

https://www.daisrecords.com/collections/xeno-and-oaklander

Text by Chi Ming Lai
20th October 2021

SEA FEVER Folding Lines

18 October 2021 /

Manchester, so much to answer for…

SEA FEVER are a new but seasoned quintet whose musical family trees link up through their various associations with some of the city’s best known bands such as NEW ORDER, THE SMITHS, SECTION 25 and THE FALL.

Comprising of Iwan Gronow, Beth Cassidy, Tom Chapman, Phil Cunningham and Elliot Barlow, their debut album ‘Folding Lines’ is the sound of a band instinctively working together, exploring the music that has inspired each band member to merge into a new whole.

Aiming to explore new sounds and unusual instrumentations, examples of this approach come with the sombre indie rock of ‘Crossed Wires’ where Phil Cunningham’s guitar sounds are played through one of Tom Chapman’s synths and ‘Built To Last’ which uses a string quartet to complement the virtual orchestra sound.

Similarly filmic, ‘The Finder’ takes inspiration from the soundtracks of Bernard Hermann, Georges Delerue, Ennio Morricone and Ryuichi Sakamoto, while a hammered dulcimer makes an appearance to add tension and mood to the dual vocalled ‘Folding Lines’ title track.

‘Under Duress’ also exudes a particularly expansive sound with electronics, strings and anthemic vocal lines like Björk’s ‘Homogenic’ meeting a modern Mancunian Spaghetti Western soundtrack, while the buzzing electronically assisted indie rock of ‘Afterthought’ is equally spirited.

Two of the album’s best songs are tightly electronically driven; ‘De Facto’ is a delightful indie-disco feast with an adrenalin rush guaranteeing dancefloor satisfaction. Meanwhile cut from a similar cloth, the slightly less frantic ‘Le Coup’ sees Beth Cassidy take the lead vocal over a blend of many Mancunian club influences.

Closing with a choir on ‘Programme Your Life’ recorded at the Royal Northern School of Music in Manchester alongside woodwinds and strings, ‘Folding Lines’ is an eclectic collection of music showcasing no particular sound or feel other than being SEA FEVER.

If you a fan of any of the bands that SEA FEVER are linked with, you will be sure to love at least 3-4 tracks. Although all the members have other bands to return to, album number two has already been written, so more is to come…

‘Folding Lines’ is released by Kartel Records on 22nd October 2021 in vinyl LP, CD and digital formats – pre-order from https://seafever.lnk.to/foldinglines

SEA FEVER play Manchester Night & Day Cafe on 22nd October and London Rough Trade East on 29th October 2021

https://seafeverband.com/

https://www.facebook.com/seafeverband

https://twitter.com/SeaFeverBand

https://www.instagram.com/SeaFeverBand/

Text by Chi Ming Lai
Photo by Anthony Harrison
17th October 2021

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