Category: Reviews (Page 16 of 200)

ROBIN HATCH Piano III

4 July 2023 /

Robin Hatch is the Canadian composer whose 2021 album ‘T.O.N.T.O.’ experimented with the huge customised synthesizer system created for the music of TONTO’S EXPANDING HEAD BAND who also worked with Stevie Wonder on the ‘Talking Book’ and ‘Innervisions’ albums.

Having previously released piano works as well a pop album ‘Noise’ featuring vocals and drum machine, Robin Hatch returns to traditional ivories for ‘Piano III’ although despite its title, she makes use of an EMS Synthi AKS and ARP 2600.

Her sixth album in 5 years, the album was written during breaks while touring as a live keyboardist with Polaris Prize-winning hardcore punk band F*CKED UP. Recorded at the Electronic Music Education and Preservation Project in Harleysville using Keith Emerson’s Steinway Model D, ‘Piano III’ opens the set with ‘Abstract’, a soothing solo piece that recalls the ‘BTTB’ pieces of the late Ryuichi Sakamoto.

‘2600’ is self-explanatory, making use of crunchy rhythmic electronics as accompaniment to the improvisation, recorded by placing contact microphones on the piano’s strings run into an ARP 2600 controlled by ARP sequencer, all while synthetic strings and swoops provide a breezy atmosphere.

The more ambient ‘Fairies’ is gorgeous with its gently bubbling electronics and keyboard treatments reminiscent of Brian Eno’s interferences in his work with Robert Fripp. However ‘Manifesto’ is much more boisterous, the skeletal ostinato cascades recalling Ryuichi Sakamoto ‘Playing the Piano’ and also John Cage when in his more tuneful mindset.

‘Dispatches’ makes more of an ominous piano statement with plenty of drama inspired by Igor Stravinsky’s ‘The Rite Of Spring’.

Perhaps not as straightforward as the other compositions, the idiosyncratic ‘Waterfall’ is artier and avant with the unusual sound of birds singing through Autotune.

A minimalist PREFAB SPROUT cover inspired by jazz pianist Brad Mehldau and classical player Christopher O’Riley (who is notable for his transcriptions of NIRVANA and RADIOHEAD), ‘Bonny’ ventures into pacier melodic inflections before the plaintive ‘Fatal Attraction’ closes proceedings.

Reflecting the deviating mind in solitude, with ‘Piano III’ being the final instalment of her piano trilogy, where will Robin Hatch head next? Not one to sit still, perhaps following her F*CKED UP touring experience, will a synth-punk album be next? Whatever happens, it will be interesting.

‘Piano III’ is released by Robin Records as a splatter green vinyl LP and download on 7 July 2023, pre-order from https://robinhatch.bandcamp.com/

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Text by Chi Ming Lai
4 July 2023

STEVEN JONES & LOGAN SKY Sacred Figures

23 June 2023 /

On their most recent 2021 album ‘European Lovers’, Steven Jones and Logan Sky affirmed their passion for Mittel Europa.

International travelling front man Steven Jones was teamed up with Logan Sky by the late Steve Strange after the keyboardist was involved in the rebooted version of VISAGE which recorded the 2013 ‘Hearts & Knives’ long player.

‘Sacred Figures’ is the sixth album from the duo and its 12 tracks are augmented by guitar from Richard Barbieri collaborator Jan Linton and sax from Gary Barnacle who worked with SOFT CELL and VISAGE.

Opening with ‘Come Back Tonight’, incessant synth lines draw the listener in as Jones offers his mannered agitated baritone that declares it is “neue romantische” business as usual and when the bleeping and bubbling lines make their presence felt, it adds another layer.

‘This Silence, Our Tragedy’ sparkles Germanically and as Jones offers his spoken word in the verse, Sky presents his cool synth interventions as if The Cold War never ended. Echoing the tense atmosphere of the world right now, things are sweetened by Gary Barnacle’s soprano sax for a hopeful effect.

Jones sermons the congregation in ‘Thalia’s Room’ while ‘Burn It Down’, ‘Sacred Figures’, ‘Kabbalistic’ and ‘Opium no.17’ are characteristic of the duo’s mood music of previous works although the latter adds exotic texturing. ‘Into Dust’ takes digital sounds and upping of pace into almost rave territory although it is sombre and no hands in the air experience.

But ‘This Intensity’ makes use of a classic Linn Drum backbone with a bubbling sequence adding energy although the promise is unfulfilled. ‘Dharma Wanderers’ ventures into lento electronic funk but is unconvincing and in the other direction, ‘Radiation’ goes into virtual ambience where “We sung the hymn to Zeus and the smoke rose into the blue…”

As with its predecessor ‘European Lovers’, there are some really good moments, but the focus on mood is again challenging over such a long body of work. But if you are already a fan of the moody Eurocentric art pop overtures of Steven Jones and Logan Sky, ‘Sacred Figures’ will be highly satisfactory.

‘Sacred Figures’ is available now from Etrangersmusique as a CD + download via https://etrangersmusique.bandcamp.com

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Text by Chi Ming Lai
23 June 2023

BLACKCARBURNING Watching Sleepers

20 June 2023 /

A product of lockdown, BLACKCARBURNING is the solo vehicle of Mark Hockings, lead singer of MESH.

While MESH have been on numerous concert outings with a live document ‘Touring Skyward – A Tour Movie’ in 2022, there has been no new material with bandmate Richard Silverthorn since 2016’s ‘Looking Skyward’ album.

Addressing the existential crisis than emerged following the pandemic, Hockings took on the challenge of multiple roles including programming and production, a legacy of him almost accidentally falling into the role of MESH’s vocalist. So far, there have been three EPs plus a JAPAN cover ‘The Other Side Of Life’ for the tribute collection ‘Still Life In Polaroids’.

Although a solo project, Hockings does not hog the limelight on BLACKCARBURNING’s debut long player ‘Watching Sleepers’ as special guests Mari Kattman, Neil Francis and Janne Marvannen of LAKESIDE X take turns as featured artists on a number of songs. As far as the material contained on ‘Watching Sleepers’ goes, there is no carry over from the previously released ‘Divide Us’, ‘Reset’ and ‘All About You’ EPs, save the title songs, albeit in different versions.

The opening salvo of ‘All About You’ is MESH in all but name with a suitably angst-ridden delivery and feisty backing that will keep the faithful happy. The spikey throbbing energy of ‘The Mirror’ provides a dark disco highlight away from the parent band’s template but with a rockier edge, ‘Reset’ ramps up the pace to MESH-like proportions. Something of a banger and very immediate with ominous orchestrated lines to boot towards the end, ‘Losing Our Way’ will also please Meshheads.

But taking different paths, ‘Echo Chamber’ brings vocoder into the vocal aesthetic for some emotive electronic pop while the sparse structure of the ‘Watching Sleepers’ title track brings in an unusual mix of acoustic guitar lines and dominant synth arpeggios.

‘The Sound of Running’ is archetypical MESH with female vox humana phrases and cut from a similar cloth, ‘Breaking Bones’ brings a moderate bounce and plays with interesting pitched voice manipulations for its intro hook.

With the four guest lead vocalled works, ‘Divide Us’ featuring the beautiful voice of Mari Kattman compliments the song’s varying tempos in utilising her range of understated and aggressive modes. Fronted by Janne Marvannen, ‘Your Heart Is Like An Island’ springs an aesthetic surprise and does something a bit different with its downtempo rhythmic stutter.

On the two numbers featuring Neil Francis, the mid-paced but rousing ‘Watch Me Die’ enters into crooner territory and his smoother timbre will surprise MESH fans. But another unexpected turn comes with ‘Love In Control’ which recalls the forgotten Romo duo ORLANDO in its acoustic six string assisted synthpop with Francis at the point of almost sounding like Gene Pitney. MESH fans will probably be scratching their heads but this is a classic pop ditty shows the songwriter aspect of Mark Hockings. A song that Hockings himself had troubling nailing, with Francis realising its potential vocally, a future as a songwriter for other singers may beckon.

Those who might have been disappointed with the BLACKCARBURNING EPs will be pleased with how ‘Watching Sleepers’ has turned out. Although there are perhaps are too many songs on it, this can be seen as a positive in that Hockings is clearing the decks to proceed with Richard Silverthorn to work on a new MESH album.

A thoughtful electronic pop record, ‘Watching Sleepers’ makes a fitting and largely enjoyable stop-gap before the follow-up to ‘Looking Skyward’ eventually emerges.

‘Watching Sleepers’ is released by COP International as a CD, deluxe 2CD + download on 23 June 2023 available from https://linktr.ee/blackcarburning

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Text by Chi Ming Lai
20 June 2023

CREEP SHOW Yawning Abyss

10 June 2023 /

 

A supergroup comprising of John Grant, Stephen Mallinder, Ben “Benge” Edwards and Phil Winter, CREEP SHOW released their acclaimed debut album ‘Mr Dynamite’ in 2018.

The histories of the individuals involved have been more than well documented and since then, John Grant has released two solo albums ‘Love Is Magic’ and ‘Boy From Michigan’ while Stephen Mallinder had two of his own ‘Um Dada’ and ‘Tick Tick Tick…’.

Busy boy Benge co-produced all of those bar ‘Boy From Michigan’ while he has also been working with Neil Arthur in BLANCMANGE and FADER, as well as John Foxx. Not to be left out, Phil Winter has been back with his experimental folk band TUNNG for two albums. All this without forgetting the regular Mallinder / Benge / Winter project WRANGLER who released their third album ‘A Situation’ in 2020. However, there was always this sense that the Bella synth union which was CREEP SHOW had more to offer…

Produced in Cornwall at Benge’s MemeTune complex as a bunch of sonic experiments using vintage synths before the tracks were taken to Iceland for Grant and Mallinder to record their vocals, the new album’s title ‘Yawning Abyss’ was inspired by “a cosmic event horizon” that Mallinder observed from his attic window while standing on a chair!

Opening proceedings with a punchy backing track, ‘The Bellows’ is like a blippy PET SHOP BOYS with layers of treated and vocodered vocals before being countered by enticing Middle Eastern resonances in the synth solo. A commentary on crypto currency, ‘Moneyback’ offers avant rap alternating between Grant and Mallinder which echoes the former’s ‘Voodoo’ while the accompanying vorsprung durch technik is rather engrossing.

The futuristic-flavoured ‘Yawning Abyss’ title track takes the pace down to a grooving midtempo with slight voice filtering on Grant’s delivery. ‘Matinee’ sees Mallinder get growly and as the track builds in size and tempo to a darker art-funk, it enters a close encounter of a different kind and becomes particularly ominous in the middle eight.

Moving into trancier house, ‘Wise’ is mysterious and minimal, bolstered by a barrage of synthetic noise. There comes another eccentric twisted rap on ‘Yahtzee!’ and despite the inherent weirdness, there are hooks within the squelchy sonics and frantic machine rhythms. ‘Bungalow’ though is conventional in comparison and perhaps comparable to a John Grant solo ballad; dressed with ivory flashes, harp runs and a synthetically sourced choir, with echoes of John Barry, this is akin to electronic Bond theme.

With schizophrenic voices penetrating from all sides indicative of the band name, ‘Steak Diane’ is an abstract experiment featuring bass guitar and reggae inflections to head into the final straight. To conclude, ‘The Bellows Reprise’ offers a shorter drum-less instrumental take on the album opener that adds the dramatic ‘Blade Runner’ sweeps of Vangelis.

Despite the tensions and menace captured within the music, the fun and camaraderie that was quite obviously had by the quartet in making ‘Yawning Abyss’ comes across, making ‘Mr Dynamite’ seem guarded in retrospect. Even the group photos for this album are more relaxed with everyone comfortable with the sophomore dynamic that now ensues. Straightforward in its approach with no egos or pretensions, ‘Yawning Abyss’ is an excellent experimental joyride.

‘Yawning Abyss’ is released by Bella Union on 16 June 2023, available in the usual physical and online formats via https://ffm.to/yawningabyss

CREEP SHOW 2023 UK live dates:

Exeter Phoenix (15 June), Brighton ACCA (16 June), Jodrell Bank Blue Dot Festival (21 July), Hebden Bridge Trades Club (22 July), Latitude Festival (23 July), London Village Underground (25 July)

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Text by Chi Ming Lai
Photos by Chris Bethell
10 June 2023

HAWKSMOOR Telepathic Heights

6 June 2023 /

Bristol-based James McKeown has been releasing music in various guises since 2010.

But in 2017, he started an instrumental electronic project HAWKSMOOR which has since become his most prolific vehicle. The moniker was inspired by Nicholas Hawksmoor, an architect who worked alongside Christopher Wren and John Vanbrugh on the design of several buildings including St Paul’s Cathedral and Blenheim Palace while he also designed several London churches.

Known as ‘The Devil’s Architect’, it is fitting that Nicholas Hawksmoor’s musical namesake has been an exponent of hauntology which takes the idea that elements from a social or cultural past can return in the manner of a ghost. Having released the Ballardian ‘Concrete Island’ with THE HEARTWOOD INSTITUTE and the druidic Solstice celebration ‘Head Coach’ both on Spun Of Control in the past couple years, McKeown issues his first HAWKSMOOR album with the prestigious Sounds Of The Universe imprint Soul Jazz Records.

Entitled ‘Telepathic Heights’, as with previous HAWKSMOOR works, it is inspired by German pioneers such as CLUSTER, ASHRA, TANGERINE DREAM and NEU! Making use of a Moog’s Sub37 and DFAM drum machine as well as occasional guitar, the album opens with ‘Cycloid’, a fine engaging piece comprising of gritty percussive noise and manually manipulated drifts in the tradition of early KRAFTWERK, CLUSTER and the Fast Product period of THE HUMAN LEAGUE.

Floating over a rhythmic stutter, drones and repeated synth patterns shape ‘Nuclear Kites’ while utilising a subtle but speedy waltz beat, ‘Praxis’ offers abstract textures although its hooks help keep it from being totally obscure. The eerie resonances of the ‘Telepathic Heights’ title track do as instructed with minimal guitar providing additional harmonic tension inside a cavern of reverb, echoing elements of KRAFTWERK’s ‘Mitternacht’.

Retaining the six string and threatening at various point to turn into SUEDE, ‘Athanasia’ provides a less intense soundscape as a breather before ‘A Neural Interval’ provides a filmic interlude into the second half. ‘Synesius’ chills with subtle industrial elements but utilising E-bow, ‘The City Ships Of Alpha’ provides melodic focus to a flowing backdrop. ‘Dream Logic’ possesses an appealing iciness before providing what it says on the tin, ‘Abstract Machines’ closes the album with dystopian ambience.

With a particularly strong first half, ‘Telepathic Heights’ offers a heady but accessible listening experience. Its fresh but familiar soundtrack of electronic interventions will prove satisfying to enthusiasts of that classic Brain / Sky Records period of cosmic adventure, with the additional distinct touch of English discontent.

‘Telepathic Heights’ is released on 30 June 2023 by Soul Jazz Records as a CD or vinyl LP with download code, audio preview and pre-order available at https://soundsoftheuniverse.com/product/telepathic-heights

HAWKSMOOR opens for FENELLA on 10 June 2023 at London’s Courtyard Theatre in Hackney

https://twitter.com/_Hawksmoor_

https://linktr.ee/hawksmoor_music

Text by Chi Ming Lai
6 June 2023

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