Category: Reviews (Page 166 of 206)

GRIMES Art Angels

7 November 2015 /

So, here it is, veiled in mystery for months, with an unclear release date and promises of a masterpiece – the fourth album by the Canadian songstress Claire Boucher aka GRIMES.

‘Art Angels’ is manna for the hungry fans of the extraordinary and self-sufficient Music Dame and a worthy follow-up to 2012’s ‘Visions’.
Boucher herself has stressed that this production “lyrically, it’s more political and less abstract than before, like, really trippy free association about nature and sh*t.”

GRIMES has always been inspired by what most would find random like: “There’s a song that’s from the perspective of a butterfly in the Amazon as people are cutting down trees; there’s a song that’s from the perspective of angels who are polluted, so they’re crying polluted tears. I feel like it’s more about the Earth. I think I was more in society when I was making it, so it feels more grounded.”

The self-confessed “super feminist” uses herself and herself only, to complete the albums. She despises the idea of a producer taking credit for her work, so the whole enterprise is a very DIY job, including the tarot cards inspired artwork accompanying the release.

The girl does what the girl has to do, and the opening ‘Laughing & Not Being Normal’ sums up the entire outing with an ‘Alice In Wonderland’ inspired intro, leading into the “Miley Cyrus in her good girl country and western stage”, ‘California’. The sweetly laced track lyrically hits the negative experiences the artist went through while on “writer camps”, shaping the next hits for the Billboard 100, where she realised nothing is about art, and that it was the complete opposite to what she wanted to do.

‘SCREAM’, with its guitar riffs inspired by Tarantino movies, is an innovative track where GRIMES collaborates with a Taiwanese female rapper ARISOPHANES. Odd, you may think; well, Boucher tried to use Soundcloud more randomly, exploring the musicians with the least number of followers. That’s how she came across the artist, who shares the feminist vision she thought perfect for this record.

Next comes the first single and the mesmerisingly superb ‘Flesh Without Blood’, a poppy American Dream track, which to many, could land the artist a decent chart position. In one of her recent interviews, she swiftly replies to that statement. “I hate that all music right now has to exist in the context of the Top 40. I just want to make music that’s good. Some good music is pop, some good music is not pop.”

‘Flesh Without Blood’ is pop, but it’s beyond the sweet and candied: it’s immense, grown up and arty, without the need of being labelled within the realms of any chart position out there.

‘Belly Of The Beat’ brings a light super girly accent to the record, acting as a coma between the single and the following ‘Kill Vs Maim’. The song was written from a perspective of Al Pacino in ‘The Godfather Part 2’, except that “he’s a vampire and can switch gender and travel through space”. This statement alone summarises the artist’s flaunting approach to making music.

‘Artangels’ is a mish-mash of the good old pop, electronica and features influences of many an artist, being ingenuously fresh at the same time, while ‘Easily’ starts off with a simple piano and mellow beats flowering into a sophisticated hip-hop ballad. Just like with the clothes Boucher wears, you couldn’t find a song crammed with more genres coagulated into one, seamless number.

‘Pin’ similarly acts like a catalyst of variety, and ‘REALiTi’, which had been previously released as a demo with great success, has its overhauled version on the album, showcasing quite how magnificent the song is. Marked with Berlin’s Love Parade elements, this mellow track is remarkably modern and demonstrates the talents of the Canadian man-hater quite visibly. Go back few years to the marvellous pop creations of MADONNA, spice them with added synth and techno elements, and you have got yourself a perfect GRIMES song; quite possibly the best on this production.

‘World Princess Pt II’ and ‘Venus Fly’, the latter featuring Janelle Monáe, a multiple Grammy nominee, are as unconventionally original as they get, while ‘Live In The Vivid Dream’, which formed the act two of the promotional video, together with ‘Flesh Without Blood’ is a punctuating shortie, leading onto ‘Butterfly’. The last track on the production shows off the perfectionist and the tendency to push boundaries, being of a socially vital lyrical content, yet sung from the perspective of a butterfly, seeing the Amazon rainforest being cut to nothing.

Claire Boucher has become a clear icon of today’s youth; no limits, rules, obligations and no feeling of “owing” anything to anyone. Coming from British Columbia’s strict Catholic school system, where the teaching of science was banned, the inquisitive girl was always in trouble for asking too many questions. She’s flourished into a woman, who knows what she wants and is not scared to get it.

The very woman, who on her last release used “a lot of drugs” and recorded the album using Garageband only, this time has stepped up to Ableton Live and learnt to play a dozen of instruments; collaborated with known and not-so known artists, and channelled everything she’s got, is definitely the pronounced artist of today. She’s proud to live in her own house, she’s buying her own equipment, she’s not relying on producers (on which she lashes out with her “diss” track), and doing what she wants and how she wants it.

It is truly HER record, and hers alone.

‘Art Angels’ is released by 4AD Records

http://www.grimesmusic.com

https://www.facebook.com/actuallygrimes/

Text by Monika Izabela Goss
7th November 2015

SOLAR FAKE Another Manic Episode

3 November 2015 /

solar fake_anothermanicepisodeBerlin’s SOLAR FAKE came into existence in 2007, creating an instant stir in the electronica circles, hungry for more anger and industrial laden beats.

Sven Friedrich, best known for his rockier enterprises ZERAPHINE and DREADFUL SHADOWS, joined André Feller and to date have released three albums, ‘Broken Grid’, ‘Frontiers’ and ‘Reasons To Kill’.

The latest ‘Another Manic Episode’ is described by the band themselves, as their best work to date, which immediately invites the challenge to verify the veracity of this claim.

Happily charging €25 a year for their fan club membership, the SOLAR FAKE boys seem awfully confident in their latest product. The deluxe edition harbours nineteen songs, including the ten core tracks, with additional remixes by AESTHETIC PERFECTION and PROJECT PITCHFORK among many, as well as further seven piano versions of selected numbers.

The opening ‘Not What I Wanted’ curiously welcomes into the heavy world of SOLAR FAKE with EBM beats and alluring sequences, in which the band stays true to their roots. Influences of various other German bands are clearly palpable, making the opening track an eclectic mixture of pretty much everything heard before. ‘Fake To Be Alive’ follows with a clear danceability factor interwoven within a melodic, yet heavy sequence of drum and bass, as if borrowed from ‘Automation Baby’ by Bristol’s MESH.

‘All The Things You Say’, also being the first single from the production, changes the mood into more of a gentler, sublime and intelligent synthpopia. Refined vocals, this time lacking the heavy rock base, are fuller and inviting. Very clear influence from their native FROZEN PLASMA, yet original in their own way.

‘Under Control’ as well as ‘Observer’ serve heavy boot stomping to their industrial beats, while ‘Until It’s Over’ returns to the temperate, placid electronica which Friedrich is a master of. ‘The Race Of The Rats’ reprises the theme with a substantial dose of EBM, followed with ‘If I Were You’; it’s a melancholic track, yet well suited to heavy head bob and dance craze of your life.

The slower, more defined ‘I Don’t Want You Here’, is a broken love affair, MINEVE style. A listener-friendly melody with gentle piano elements, this makes the track one of the best on this collection. The closing ‘Stay’ is perhaps the song which ought to mark the style of SOLAR FAKE, as this type of direction is what they do best. Delicate electronica with a refined vocal, it wraps the album skilfully, denoting the fact the band are capable of a decent ballad.

The second CD, apart from the remixes by big names, includes two tracks which are worth a mention. ‘Somebody Told Me’ rings the familiar sounds of THE KILLERS. It has become a kind of a given, that SOLAR FAKE will include a cover on each album. And this one is basically a version of the original, which has been beefed up with synth sounds, leaving it resonating not too dissimilar from the prototype. ‘You Need The Drugs’, another cover, this time of WESTBAM’s big hit, from ‘Götterstrasse’, is more palatable and assembled with apt knowledge of the blueprint.

SOLAR FAKE 2015Like with any SOLAR FAKE release, the feeling persists, that perhaps the band, with their strong performances, are more of a live act and are better appreciated when in front of audiences, having toured Europe extensively before the release of ‘Another Manic Episode’ with great success.

The album, being rather compelling, will probably suit younger, less expectant listener.

For the lovers of COMBICHRIST, this is a perfect alternative; angry, in your face and destructive at times, only seldom punctuated with softer, lighter synth.

Whether the claims that the album is their best work to date, are indeed accurate, is debatable; however, the continuing popularity of the group speaks for itself.

‘Another Manic Episode’ is released by Out Of Line Records

http://www.solarfake.de/en

https://www.facebook.com/SolarFake/

Text by Monika Izabela Goss
3rd November 2015

JEAN-MICHEL JARRE Electronica 1: The Time Machine

18 October 2015 /

For the last eight years, French synthesist Jean-Michel Jarre has mainly focused on his live work and reworking past glories, touring the world with a greatest hits set featuring most of the iconic pieces of equipment that were used on the holy trinity of albums he is most associated with – ‘Oxygène’, ‘Equinoxe’ and ‘Magnetic Fields’.

Despite nearly pushing 70, the creative urge has sparked Jean-Michel Jarre to release some new material and ‘Electronica 1: The Time Machine’ sees his welcome return with 16 tracks and 15 collaborators. Whilst for other artists (hello DURAN DURAN!), the collaboration option is often one which is resorted to a) when the creative fire has started to splutter out and b) when you cynically try to “get down with the kids” to attract a new audience, for Jarre it is the obvious and perfect route to take.

The album was a lengthy four years in the making, mainly because of his insistence to work in the same space as the collaborators, avoiding the internet route preferred by many electronic artists. All of the guests featured here are either ones who Jarre admires or who have been influenced by him, some of them are obvious choices, others are a little left of field, but more on that later.

The opening title track created with BOYS NOIZE is classic Jarre, both compositionally and sound wise, a very hooky melody with driving drums and sequencer parts that keep the piece moving throughout. Entertainment for some can be had on this album by playing synth-spotting and seeing which sounds have been previously been used by Jarre. ‘The Time Machine’ features the Laser Harp sync bass sound used on the second half of the epic ‘Second Rendez-vous’ and works brilliantly here on what is an excellent album opener.

Unfortunately, the M83 song ‘Glory’, as well as being desperately mistitled, kills the momentum generated by the opener and still feels as plodding and pedestrian as when it was released as one of the lead-off tracks of the album earlier in the year. It’s not a bad song per se, it would surely have been preferable to have placed it towards end of the album… so for those of you that love to generate custom Spotify playlists, you know what to do!

The AIR pairing is a musical no-brainer, the duo being arguably the best electronic act to come out of France since Jarre first broke through. ‘Close Your Eyes’ features typical AIR chord progressions and ethereal vocals, both live and vocodered. But the surprise here is the rhythm track which lopes along like something from ‘Autobahn’; this is a good thing though and there are enough musical ideas in this piece which could easily have seen it extended by another 3-4 minutes.

The outro features classic pitch modulated synths and burbling EMS sound effects (both Jarre trademarks) and the song itself is sung from the perspective of a synthesizer “Switch me on, play my song and close your eyes”. On the strength of this track, one can only wish that there could be a whole collaboration album in the pipeline, it’s easily one of the most cohesive fits here and works beautifully.

For many, the Vince Clarke collaboration is a match made in synthetic heaven, and fans will be rewarded with two tracks here – ‘Automatic Part 1’ and ‘Automatic Part 2’. ‘Part 1’ is centred around an electro drum beat before leading seamlessly into ‘Part Two’ which goes 4/4 with the energy level being raised with another classic Jarre melody. Both pieces feature wonderful interlocking sequencer parts and they are everything that a follower of both musicians could hope for.

‘Suns Have Gone’ featuring Moby starts off like a long lost Philip Glass piece, interlocking arpeggios recall the iconic minimalist composer before the former Richard Hall’s world-weary vocals and a solid beat take the track into more into EDM territory, but still with a melancholic feel to it. LITTLE BOOTS, whose recent profile in the UK has waned significantly, pops up with a typical piece of electropop fluff – ‘If..!’ sounds very MARSHEAUX-like in its conception with an ultra-hooky chorus and is only let down by some dubious tuning on some of Miss Hesketh’s ad-lib vocals.

‘Travelator’ is probably the biggest surprise on ‘Electronica 1’; despite being well known for his electronic experiments with THE WHO, few would expect Pete Townsend to appear on a Jarre album. The result is more successful than the pairing would suggest, although the sound of the rock vocalist surrounded by driving synths takes a few listens to get used to!

‘Zero Gravity’ is one of the other collaborations here that got fans of instrumental electronic music excited, it features TANGERINE DREAM and possibly one of the final pieces that Edgar Froese contributed to before sadly passing away earlier this year. Full of classic TD sequencer parts, it takes a few listens to truly appreciate, but once it has sunk in, acts as a fitting memorial.

In many eyes, Jarre is recognised as The Godfather of Trance, so a joint venture with a current artist from that genre would seem like a safe bet. ‘Stardust’ featuring Armin Van Buuren sounds pretty much as you would expect it to, very melodic with a thumping kick, descending synth melody and a hands in the air breakdown section.

The last couple of tracks on ‘Electronica 1’ will be welcomed by those that prefer Jarre’s mainly instrumental work, both the pieces with John Carpener and Lang Lang are truly superb; ‘A Question of Blood’ (given its co-creator’s background) is a movie theme waiting to happen whilst the latter (‘The Train & The River’) combines classical piano over an extended electronic backdrop with one of Jarre’s classic sequencer riffs.

At approximately 4 minutes into ‘The Train & The River’, you WILL get goosebumps when Jarre drops in a descending phased Eminent string chord and just for good measure brings back THAT sync bass sound again… again this is another collaboration that is crying out for more pieces.

The only missed opportunity with ‘The Time Machine’ is that despite many of them being well known in their field, none of Jarre’s collaborators here could be classified as exceptionally strong vocalists; it would have been intriguing to have (for example) someone of the calibre of Susanne Sundfør vocalling, but it’s understandable why he chose the people he did. Jarre has an embarrassment of musical riches here and with more saved up in the bank, a second volume is due next year due to the sheer volume of artists agreeing to work with him like Hans Zimmer, Sebastien Tellier and Gary Numan.

This work, and hopefully ‘Volume 2’, will be a wonderful addition to the tradition and provides what is one of the best electronic albums that you will hear this year. As Jarre himself mentions in his sleeve notes, “Electronic music has a family, a legacy and a future…” and ‘Electronica 1: The Time Machine’ comfortably ticks all three boxes with consummate ease…

‘Electronica 1: The Time Machine’ uses the following electronic instruments: ARP 2600, EMS AKS, EMS VCS3, Fairlight CMI, Minimoog, Memorymoog, Moog Modular 55, RMI Harmonic, Roland Jupiter 8, Korg Micro-Preset, Theremin, Korg MS20, Roland AXS, GRP Modular, Elka Synthex, Laser Harp, Eminent 310, Mininova Vocoder, DigiSequencer, Coupigny GRM, Swarmatron, ARP Omni, ARP Pro-Soloist, ARP Odyssey, Waldorf Blofeld, Alesis Ion, Roland VP330, Virus Access, Clavia Nord Lead 1, Clavia Nord Lead 2, Clavia Nord Lead C2D, Emulator II, Korg PA500, Moog Taurus, Farfisa Pro 2, Vox Continental, Mellotron, Keio Minipops, Korg KR55, Roland TR808, Roland TR909, Roland CR8000, Eko ComputeRhythm, Keio Doncamatic, Linn LM-1, Linn LM-2, Metasonix D1000, Native Instruments Maschine

‘Electronica 1: The Time Machine’ is released by Columbia / Sony Music

http://jeanmicheljarre.com/

https://www.facebook.com/jeanmicheljarre

https://twitter.com/jeanmicheljarre

http://aerojarre.blogspot.co.uk/

Text by Paul Boddy
18th October 2015

RODNEY CROMWELL Black Dog

15 October 2015 /

RODNEY CROMWELL’s debut gig at The Victoria in Dalston turned out to be a fitting reunion of ARTHUR & MARTHA, a quirky duo whose only album ‘Navigation’ in 2009 was a promising debut.

The work of electronic music enthusiasts Alice Hubley and Adam Cresswell, the long player’s highlight was ‘Autovia’, a synthetically motorik soundtrack that was ideal for motorway journeys north of Watford Gap.

Since then, Hubley has formed the indie band COSINES while after a musical break of several years, Cresswell has returned as RODNEY CROMWELL. The lo-fi aesthetic of ARTHUR & MARTHA is still very much in evidence on his recently released debut album ‘Age Of Anxiety’. The live performance in July saw Hubley joining Cresswell on a Moog Rogue, while the frontman brought along his trusty Korg MS10.

Utilising a combination of vintage synths, computer backing, bass and guitar, the show climaxed with ‘Black Dog’, a part duet with Hubley. The lengthy, but tremendous closer of ‘Age Of Anxiety’ has now been released as a single with an accompanying video. Possibly one of the best songs of 2015, ‘Black Dog’ recalls the pulsing post-punk miserablism of SECTION 25 and is embellished with the beauty of Cresswell’s Hooky bass.

Of course, ‘Black Dog’ not actually about a dark coloured canine. Of the album, Cresswell told ELECTRICITYCLUB.CO.UK: “It’s all broadly linked to experiences in my life over the last ten years; themes of love, loss, depression, redemption”. As with NEW ORDER’s ‘Temptation’, despite the inherent melancholy, there is an optimistic light at the end of the tunnel that makes ‘Black Dog’ a most joyous listening experience.

”The vocals might not always be pitch perfect, the guitars and synths a bit rough round the edges” says Cresswell, “but those records got soul!”

‘Black Dog’ is can be downloaded from iTunes or listened to on Spotify

The album ‘Age Of Anxiety’ released by Happy Robots and available as a CD or download via https://happyrobotsrecords.bandcamp.com/

https://www.facebook.com/rodneycromwellartist/

http://www.happyrobots.co.uk/

https://www.facebook.com/happyrobotsrecords

Text by Chi Ming Lai
15th October 2014

JOHN GRANT Grey Tickles, Black Pressure

14 October 2015 /

David Bowie, AIR, NINE INCH NAILS, YAZOO, Gary Numan… now that that diverse roll call has hopefully piqued your musical attention…

The new John Grant album takes elements from each and throws it all into a melting pot with a topping of mordant / sardonic lyrics which at points, either shock or genuinely make the listener laugh out loud. On what is his third long player, Grant has added another layer to the modus operandi which he developed on ‘Queen Of Denmark’ and ‘Pale Green Ghosts’.

Number one – monophonic / dark synthpop and number two – downtempo soft-rock AIR / PINK FLOYD styled songs remain present and correct, but the contributions of keyboardist Bobby Sparks have meant that there is a more playful, funkier edge to many of the pieces here. Ever present throughout though are the confessional and acidic lyrics which help to keep a cohesive feel, even when styles lurch wildly from one song to next without much in the way of warning.

Bookended at either end of the album are spoken word quotations from the First Epistle of Saint Paul to the Corinthians: “Love is patient, love is kind. It does not envy, it does not boast, it is not proud”. ‘Intro’ recalls YAZOO’s experimental ‘I Before E After C’ with its layers of vocals and the choice of text (deliberately) contrasts sharply with that of Grant’s own lyrical approach.

John-Grant by Michael-Berman

First full song and title track ‘Grey Tickles, Black Pressure’ takes no prisoners with Grant (who is HIV positive) wishing he was around in the promiscuous 70s so that he could have “got a head start in the world of disease”; additionally he discusses whether haemorrhoid creams are targeted at him and the fact that although his illness is serious, there are “children who have cancer” and “I can’t compete with that”.

Now if you can get past that lyrical whammy of an opener, a cornucopia of musical riches await… ‘Snug Slacks’ features funky synths and classic clavinets, Kaoss Pad-style effected vocals and an overall dry production style which is quite different to the lush sound which was present through much of ‘Pale Green Ghosts’. Most casual teenage listeners will be frantically reaching for Wikipedia when they’re confronted with a list of names including Joan Baez, Charlene Tilton and shock performance artist GG Allin which all get a name check in the song.

‘Guess How I Know’ is very NINE INCH NAILS in its conception, a quiet-loud dynamic with a filthy distorted guitar and vocal combo punching through on the chorus. A delightfully unhinged synth solo is featured in the middle 8 before Grant bids farewell in several languages during the outro to the song.

John Grant's new album, Grey Tickles, Black Pressure, comes out Oct. 9.

The intro of ‘You and Him’ sounds like UNDERWORLD’s Karl Hyde jamming with THROBBING GRISTLE before a Garage Punk Rock-style chorus takes the song to another level. Again the lyrics (especially in chorus) are particularly unhinged: “You and Hitler ought to get together, learn how to knit and make matching sweaters”. This track follows the character assassination route which was present on ‘Pale Green Ghosts’, where Grant bear his feelings about an ex-lover in an all-too public arena.

‘Down Here’ with its acoustic guitars brings a respite from the more in-your-face elements present at the start to the album. A meandering bass synth lifts the chorus for a song that at initial face value is pretty traditional until a woodwind solo pops up unexpectedly in the middle and during the outro. Grant is blatantly unafraid to experiment with unconventional sonic textures and that is one of the joys of this album.

‘Black Blizzard’ is the most electronic and genuinely dark track here, starting with a cut-off filtered sequencer part and programmed drums, and peaking with a chorus with fast, skittering hi-hats. Were it not for the synthetic nature of the song, lyrically it could easily soundtrack a ‘Game of Thrones’ episode, but mentally picture the added bonus of Gary Numan doing a walk on part towards the end with a Polymoog Vox Humana solo.

The lead single ‘Disappointing’ is a wonderful 21st Century Love Song with a shopping list of things / places / objects which pale in comparison with Grant’s love interest in the song. Based around a cheeky rework of YAZOO’s ‘Situation’ bassline, the song also features Tracey Thorn from EVERYTHING BUT THE GIRL on guest vocals, whilst channelling the spirit of Bowie’s ‘Ashes To Ashes’ in its pay-off chorus. Grant’s baritone verse vocals again recall Karl Hyde in a track which is the clear highlight here.

Towards the end of the album, ‘No More Tangles’, a wish for a simple life, cribs its concept and some of its lyrics from a shampoo, whilst ‘Geraldine’ recounts the story of Broadway actor Geraldine Paige who often had the reputation of being underused, despite being a consummate professional in her field. The closing piece is ‘Outro’ which brings the work full circle, this time with a solo child voice reading another piece from Corinthians.

John-Grant by Michael-Berman-owls

If there’s a criticism of the album, it’s that some of the ideas are stretched a little thin and too many tracks follow the woozy downtempo soft-rock template which AIR used on ‘The Virgin Suicides’ album. The overall production style also feels a lot drier and abrasive sounding than the expansive feel cultivated on ‘Pale Green Ghosts’, but this is probably nitpicking in the overall context of the work.

In an age of music where the life is often all but squeezed out of it, Grey Tickles, Black Pressure’ is full of personality and the sound of someone actually PLAYING a synth, and in many tracks actually taking a solo, is very refreshing.

For fact fans, the album title combines the Turkish for “nightmare” with the Icelandic for “midlife crisis” and although that sounds like a doomy proposal, the end result is far more up than it should be, resulting in a body of songs that require repeated consumption before fully taking hold of the listener.

Newcomers to Grant’s work who wish to explore more of his electronic side are also recommended to dip into much of ‘Pale Green Ghosts’ to sample a truly maverick artist who provides a welcome alternative to the sheer volume of vacuous pop around at the moment.

‘Grey Tickles, Black Pressure’ is released by Bella Union

John Grant 2015-2016 live dates include:

Dublin Vicar Street (9th November), Dublin Vicar Street (10th November), London Hammersmith Eventim Apollo (12th November), Brighton Dome (13th November), Glasgow Royal Concert Hall (26th January), Belfast Mandela House (27th January), Cork Opera House (28th January),Coventry Warwick Arts Centre (1st February),Cambridge, Corn Exchange (3rd February), Southampton Guildhall (4th February), Leeds Town Hall (5th February), Liverpool Philharmonic Hall (7th February), Manchester Hall (8th February), Gateshead Sage (10th February), Sheffield Octagon Centre (11th February)

http://johngrantmusic.com/

https://www.facebook.com/johngrantmusic

http://bellaunion.com/

Text by Paul Boddy
Photos by Michael Berman
14th October 2015

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