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Eyewitness accounts from the frontline of musical history….
Kraftwerk – Tribal Gathering, Luton Hoo Estate, England 24/05/97
It’s hilarious really. The narrative about Kraftwerk’s triumphant return to claim their undisputed place as the single most influential act in electronic music, seems to indicate an absence of decades.
If there was any doubt that UK producer James Blake was more than just a dubstep /funky artist, then Klavierwerke provides evidence to the contrary in spades. Indeed, in what is a commercially brave move by the recently re-launched Belgian label, Blake has been given the freedom to depart from the confines of the dance floor and enter a realm where there is only a passing reference to rhythm-based music. The title track is a prime example: based on a gloriously haunting piano intro that hangs in the air, Blake then introduces his somnambulant, deeply mournful vocals. The title track transposes the UK producer to a new realm, but it is also clear on this release that he doesn’t want to forget his roots either. This is evident on “Tell Her Safe”, where Blake’s eerie, indistinct vocals are also audible, but are presented over intricate, glitchy rhythms and organic percussion. “Don’t You Think I Do” also makes references of sorts to his releases for Hessle and Hemlock, as insistent claps underpin his melodic outpourings. However, the standout track, “I Only Know What I Know Now”, manages to straddle both of Blake’s worlds and understated, low-paced drums underpin the kind of ethereal piano-based songs that Nick Drake used to craft. Equal parts reflective songwriter and rhythm innovator, James Blake is a 100% exceptional talent.
Richard Brophy
Much has been made of Lorn being the first non LA resident to feature on the forward thinking Brainfeeder imprint overseen by Flying Lotus. However, it’s worth mentioning that Nothing Else, his debut album for the imprint, is driven by Lorn’s geographical status – ‘the middle of nowhere Illinois’.
The frustrations and dark mood that have peppered his time in Milwaukee making this album have been reimagined as deep bass driven tales of urban decay. The central point of Nothing Else, typifies this perfectly as “Void 1 & 2” play out as acid washed neck snapping dubstep wastelands.
This abrasive approach to arrangement is present elsewhere, not least on “Automaton” where the quick fire percussion is pushed violently aside by the sheer force of the rising bass patterns. “Tomorrow” marks a further descent into sub woofer hell but is underpinned by strands of melancholy which Lorn expands on elsewhere – “Cherry Moon” for example, where soaring string arrangements combine with a viscous beat and sci fi synths to create one of the albums’ highlights, albeit one drenched in a sense of forlorn.
The album’s closing note “What’s The Use” provides another high point for Lorn as pounding organ sounds morph with stuttering beats and scuzzed out bass before snatches of dejected vocals signal the end. Some three years in the making, Nothing Else has succumbed to numerous sequencing permutations as Lorn has agonised about how best to present his work. Luckily for us, Nothing Else is an album steeped in sonic textures and an exciting portent of what to expect in the future.
Review: Tony Poland
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Dan Snaith is impossible to second guess; since his emergence on the Leaf label as Manitoba with Start Breaking My Heart in 2001, every subsequent release has veered in differing musical directions, with a craft and mastering of music that has gained him an ever increasing fan base. That debut is perhaps one of the more revered albums in the over stuffed genre that is the dreaded IDM.
This gave no clue as to the nature of his 2003 follow up, Up In Flames, which was a splendid explosion of Vitamin D-infused psychedelia and heavily percussive cosmiche grooves with the added bonus of vocals from Stones Throw veteran Koushnik.
2005’s The Milk Of Human Kindness under the legally enforced name change of Caribou took on an organic approach to hip-hop grooves and heavily percussive distorted funk outs. Andorra, Snaith’s 2007 album saw his song writing come to the fore combined with the natty sampling with the end product sounding like a forgotten masterpiece from the acid pop of the 1960s.
Flash forward three years and Snaith presents Swim his fifth, and perhaps best, album to date. “Odessa”, the album’s opening track will be familiar to most as City Slang released it as a free download earlier this year to give a taster of what to expect. For those that missed it, “Odessa” is the culmination of what happens when you throw together a mid nineties piano house line, some vocals remarkably reminiscent of Erlend Oye, a suitably bouncy bass-line and the sound of a chicken being strangled.
What follows is that most strange of things, a consistently brilliant dance album from a producer you would not normally associate with house and minimal techno. Previous interviews with Snaith have seen him disclose a love for Border Community boss James Holden, and that much is in evidence throughout, most notably on “Sun”, where crashing jazz percussion melds into an amazing throb of techno bliss. Indeed, the chime filled “Bowls” has already been earmarked for a remix by the amusingly coiffured Holden
It’s easy to focus on the music, brilliant as it is, and not pay attention to the vocals, for the most part sung by Snaith himself in that familiar Oye-esque voice and focusing mostly on the dynamics of relationship, most notably on “Odessa” and “Leave Home”. It’s only on album closer “Jamelia” that Snaith relinquishes vocal duties with Born Ruffians front man Luke Lalonde in what mutates sonically several times in the space of four minutes.
Swim is a brilliant album which will either grab you immediately or lodge itself in your cerebral cortex over time and is certainly one of the best releases to date this year.
Review: Tony Poland
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Warp Records genre-bending producer extraordinaire, Flying Lotus (née Steven Ellison), returns with the follow up to his highly successful and oft imitated Los Angeles with Cosmogramma – arguably the most anticipated electronic album of 2010. And from the opening seconds of first track “Clock Catcher”, it quickly becomes evident that Fly Lo is working on a whole new level of ‘next shit’ here. This may throw some listeners for a loop at first, however, after a couple of listens you’ll begin to understand exactly why Fly Lo has described the album as his “space opera”.
The obvious stylistic difference with Cosmogramma is that it adopts a jazzier feel to it, rather than the fragmented hip-hop of Los Angeles and 1983. Its closest reference point seems to be the stuff a later Miles and Trane would have made if they had access to the technology. The album is definitively out there, and will no doubt be just as railed against as highly lauded by the critics because of this. But for this listener, it’s a fantastically heady album with amazing beats, funked-out basslines (at times reminiscent of Squarepusher), smooth jazz breaks, and overall it comes across as a much more personal recording for Ellison, as he attempts to tap into his family’s rich musical roots.
Fly Lo is nephew to Alice Coltrane, wife of John, and a highly accomplished jazz musician in her own right (read more about that in our recent interview with Ellison), and auntie Alice’s influence is in the forefront here, as he samples her playing the harp, and her son Ravi playing the saxophone throughout. His collab with Thom Yorke is fine, and will no doubt be deemed a highlight, yet tracks like “Zodiac S**t”, “MmmHmm”, “Do The Astral Plane”, and “Recoiled” are major hitters on the record, and all so very different stylistically, you just gotta hear it to believe it. The album ends with “Galaxy in Janaki”, his most hip-hop track on the album, yet instead of it being a dark and ominous closer, it features a swirling symphony, frenetic bass, and seems charged with a bright optimism for the future evolution of his sound. Next shit indeed.
Review: Matt Leslie
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Artist: Matthew Herbert
Title: One One
Label: Accidental
Genre: Leftfield
Format: CD, Digital
Buy From: Juno Records, Juno Download
Avant-garde musician Matthew Herbert welcomes spring with the release of the first installment in his “One” trilogy, entitled One One. The album’s title is fitting, because the man of many samples has chosen to use just one here – himself. Herbert wrote, performed, produced and recorded everything on the album, and also decided to add vocals in the mix, sung all by his lonesome. Sounding somewhere between Alexis Taylor and Erlend Øye, Herbert lulls with soft vocals and self assured lyrics detailing a day in the life of one man.
For those hoping for the return of Herbert’s signature deep house, you’ll have to wait for the last installment in his trilogy, One Club, because with One One, Herbert displays his soft side, and in many ways this album could be considered a sort of eclectic folk album. Each track has an intimate feel to it, as Herbert confides in his listener, asking: “Who knows where this journey will be taking us? Who cares?” on “Leipzig”, and croons about his second home in the stripped-down and emotional “Berlin”.
Each track’s title is the name of a city, and this quiet collection of songs is like a travel guide of Herbert’s thoughts and memories. Highlights are “Dublin” and “Milan”, which best reveal his vocal chops. For those of you looking for a subtle and introspective album by an excellent and ever-changing musician, One One is for you. Check it.
Review: Matt Leslie
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RVNG INTL rose to prominence with some under the counter mix CDs from Brooklyn icons like Mike Simonetti and Tim Sweeney back in 2004/5 with unique tracklistings that toook in krautrock, post-punk, disco pogo and techno, matched by lovingly crafted cover art.
The label has also built a reputation for staying at least two steps ahead of any musical curve. Perhaps noting that all good things come to a trend, the much loved RVNG OF THE NRDS series of primarly disco edits, which began in 2006 with Tim Sweeney and took in the cream of the cowbell crop (including In Flagranti, Jacques Renault and Greg Wilson) was put to bed after Pilooksi’s contribution on vol 10.
And so we turn to their lastest project, FRKWYS, in which contemporary artists are invited to collaborate with their musical icons. The first edition, Vol 2 (the reasons for which cannot be explained within the constraints of around 300 words) featured NYC types Excepter going toe to toe with Throbbing Gristle and Meat Beat Manifesto with typically industrial results.
This should not pre empt your expectation of Volume 3, a collaboration between legendary pianist Anthony Moore and Alexis Georgopoulos (aka ARP). What entails is a very sombre and reflective collection of tracks that vary between original exercises in minimalist drone, exemplified perfectly on the opening track “Yesterdays Psalter” and reworkings of Anthony Moore’s compositions from the 60s. One such example of the latter, “Piano Waves” provides the highlight of the release, in what is little more than 11 minutes of haunting delayed piano.
Long term devotees of the label will no doubt snap up the 500 vinyl copies lovingly presented by RVNG afilliates Will Work For Good in little time, but people new to the imprint and interested in this collection of tracks should not feel too dissapointed with mere digital versions as FRKWYS vol 3 makes for perfect headphone music.
Review: Tony Poland
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Artist: Computer Jay
Title: Maintain
Label: Ramp Recordings
Genre: Dubstep/Grime
Format: 12″, Digital
Buy From: Juno Records, Juno Download
Ramp unleashes some more computer funk, this time courtesy of Computer Jay’s “Maintain”. Returning to the label following the huge success of his “Distance 10” that was picked up by the likes of Kode9 and Fly Lo, Jay delivers anther slice of computerised, synth-heavy freak out beats.
Complete with reworks from FaltyDL, Mike Slott and Ikonika, Ramp have certainly loaded this one up with fresh and contemporary, techy sounds. The self confessed computer obsessive from LA is part of a collective that includes Flying Lotus, Ras G and Gaslamp Killer. Their influence can be heard through his music but Jay unquestionably has his own inimitable sound. Ascending analog flashes scatter over minimal beats on “Maintain”; chopped up vocals pepper the track as it spirals around techy sounds and effects in a dizzying take on electronic funk. With a tempo that is completely bespoke for what Jay is doing, “Maintain” still manages to ooze charm and lay out a decent groove besides its highly unnatural approach.
Ramp starlet FaltyDL turns in the first remix, again playing tricks on the mind with his use of tempo. His hyper-garage mix is an edgy and sometimes uncomfortable rework of the original. It manages to push the vocal and melody to the brink whilst keeping the groove in place. Mike Slott then steps up with a more laid back, euphoric remix. Toning down the tech madness slightly, he opts for a more hip-hop infused offering. Ikonika slows things down further still to close the release. Adding a sensation of strangeness to Computer Jay’s track, she turns it into a wonky piece of tech-step that seems to revel in the space allowed to it that the original did not. Another wonderfully unique release from Ramp and Computer Jay, “Maintain” signals just how much one man can get out of a computer for a three and a half minute track.
Review: Tom Jones
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Artist: Autechre
Title: Oversteps
Label: Warp
Genre: Leftfield
Format: Digital
Buy From: Juno Download
Warp Records stalwarts Autechre return with their tenth, count ‘em tenth, album. Rob Brown and Sean Booth welcome the new decade with the complex and intriguing “Oversteps” – a melodic and strangely emotive album that emits far different sonic vibrations than the duo’s last few full-lengths.
There’s no conscious way one can fully understand the compositional mind of Autechre, you just put them on and know that patience will reward. But with this new album the duo’s vibe will immediately pull you in and have you convinced machines must feel love before opening track “R ess” is done. Their signature clings, clangs, and syncopated rhythms are in full effect here, and with repeated listens they become infectious, full of darkened corners strobed with light. Yet, one wouldn’t call this a beat heavy album at all, the tempo is more composed and subdued, which reveals a definite maturation of their sound and synthesis. All this to say for non-fans: this is Autechre’s most accessible album in over a decade, and for non-non fans: their most solid release since “LP5”.
Tracks “See on See’ and “O=0” are the most heartfelt electronic songs heard in quite some time. They hit hard and true, featuring brief moments of light amidst darker and more heady tracks like “Ilanders”, “Known(1)”, and the fantastic “Treale”. Strongly recommended for all fans of more challenging electronic music. There ain’t no 4/4 here… in some tracks it’s unsure if there’s even any time signature at all, but “Oversteps” is definitely one to check out.
Review: Matt Leslie
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Artist: Bonobo
Title: Eyesdown
Label: Ninja Tune
Genre: Broken Beat/Nu Jazz, Deep House
Format: 12″, Digital
Buy From: Juno Records, Juno Download
The superb Ninja Tune imprint stumps up a remix package of Bonobo’s “Eyesdown”, taken from the British producer’s latest studio album due out at the end of the month. The single features a vocal collaboration with Andreya Triana, who has also worked with Flying Lotus and Mr Scruff. Bonobo (real name Simon Green) has returned the favour, taking up production duties on Triana’s debut album, due out at the end of the summer.
“Eyesdown” maintains a gentle yet insistent broken beat, but this merely forms a backdrop to Triana’s immense vocal talents, with Green wisely choosing to keep his production clean and uncluttered.
The Floating Points remix gently meanders and undulates as only a Floating Points remix can. Young Samuel Shepherd really can do no wrong at the moment, with his new two tracker on Egloabout to drop and a wonderfully epic remix of Four Tet getting the adulation it deserves.
However, pick of the bunch has to be the Appleblim and Komonazmuk rework, which chugs along with a warm afterhours deep house groove – quite the opposite to their upcoming 90s garage-themed rework of MyMy’s “Price Tag”, and wildy different from their more dubsteppy efforts in recent years. Warrior One chips in with a driving yet restrained drum and bass rework, very much in keeping with the tone of the original. A quality release from start to finish.
Review: Aaron Coultate
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Artist: Brandon Miles and Tricky Pat
Title: Sulphur EP
Label: Temper D Productions
Genre: Drum and Bass, Leftfield
Format: Digital
Buy From: Juno Download
Putting something a little different out there for D&B DJs, London spinner Temper D offers up this breathtaking EP from Brandon Miles and Tricky Pat. From Portland and Vermont respectively, these two have an innovative and refreshing take on the genre, a million miles away from the mountains of formulaic drum and bass.
As Temper himself says: “They can really have an amazing effect at parties, provided you mix out of them with something with a bit of energy”. If only all label bosses were so thoughtful. Lead track “Sulpher” has a stuttering Dubstep-styled beat with some awesome beatless sections for stunning mixouts.
“Pip Squeak” will again work wonders in sets, coming in with a half-tempo swing that doesn’t feel lazy but instead provides a classy way to switch up styles, with plenty of crescendos that are begging to be mixed out of. “Radio X” and “Sex In Slime” are two seriously dark and twisted tunes that the right DJ could deploy with huge effect. Having already been played by London Electricity, Doc Scott, Raiden and of course Temper D himself, these four tracks come seriously recommended.
Review: Oliver Keens
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It’s a chilly London afternoon in February, and there are thirty-odd people sitting in lounge chairs, listening to Terre Thaemlitz talk. Over the course of the session, hosted by the Red Bull Music Academy, Thaemlitz – aka DJ Sprinkles, aka a myriad of other monikers – speaks openly on issues of sexuality, gender, music and culture. The Academy participants listen intently – Thaemlitz’s intense, multi-faceted and academic approach to music makes for fascinating listening, one of the few electronic music producers who can articulate the complexity of their art without a hint of pretentiousness. We caught up with Terre after the session for a quick chat.
Artist: Osborne
Title: Ghostly Remixes
Label: Ghostly International US
Genre: Minimal House/Tech House, Leftfield
Format: Digital
Buy From: Juno Download
Todd Osborn’s (almost) self titled debut album drew plaudits from across the globe, the American producer lauded for his blend of old and new in addition to his adaptation of varying styles. Such was the appeal of this highly creative, nostalgia-soaked dance album that it has managed to lure a host of respected and influential producers into reworking the original tracks. Such is the quality and ingenuity of those remixes, that Ghostly International has decided to release them on a new EP of their own.
Bullion opens the release with their twist on “Afrika.” The UK based producer swaps African percussion for warm, soulful electro whose humble bass makes it markedly more Americanised than its African influenced predecessor. Bogdan Raczynski’s effort transforms “Ruling” from its deep Chicago sound into a frantic mellay of dots and lines built around a flopping bassline. Lukid brings an ambient and instrumental hip hop feel to what Osborne had woven a dream-like, 1990s sound into “There.”
The digital version of this release also includes Luke Vibert’s energetic, snappy version of “Outta Sight,” not to mention an Arto Mwambe remix of “Wait a Minute.” The Frankfurt duo retain the jazz chords that are merged with disco and funk in the original but give it a deep house makeover for the remix.
These remixes have managed to keep up the standard of creativity and innovation set by the original album – and that’s no mean feat.
Review: Tom Jones
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Hero to cosmic chin-strokers everywhere, Richard Norris has had his fingers in more musical pies than you’d care to imagine.
Artist: Hudson Mohawke
Title: Butter
Label: Warp Records
Genre: Leftfield
Format: Digital, 2 x LP
Buy From: Juno Records, Juno Download
The keenly anticipated debut from Hudson Mohawke is one of the most arresting albums of 2009. It’s hard to put a finger on the young Glaswegian’s style – there’s traces of dubstep, hip-hop, R & B and electronica strewn across the album, without any apparent regard for established musical patterns.
The result is fascinating – a restless, out-of-phase ride that heads in one direction, darts to the next, before coming back again. Hud Mo – a former DMC champ in his teenage years – could be the dubstep/hip-hop equivalent of Warp Records stable mate Jackson & His Computer Band – himself a true master of glitchy, cut and paste electronica.
Review: Aaron Coultate