Tag: The Beloved

JORI HULKKONEN There Is Light Hidden In These Shadows

“For my 50th birthday I wanted to do something a bit special” said Jori Hulkkonen, “however, the list of realistic projects quickly narrowed down on yet another album. I did manage to invite some friends and heroes to be featured on it, though.”

With words and music written by the ace Finnish producer at his Alppi-Houz Studios PT in Turku, Jori Hulkkonen has assembled an impressive supporting cast including Ralf Dörper, Jake Shears, Jon Marsh, John Grant and Tiga for his new album ‘There Is Light Hidden In These Shadows’.

Although he released his first solo album ‘Selkäsaari Tracks’ in 1996 , it was with Tiga that Hulkkonen first found international fame as Zyntherius with an electroclash cover of Corey Hart’s ‘Sunglasses at Night’ in 2002. Since then, he has also worked with John Foxx, Chris Lowe and Casey Spooner, as well as doing numerous remixes for the likes of CLIENT and THE PRESETS. All this while having a number of projects on the go such as ACID SYMPHONY ORCHESTRA, KEBACID, DRUMMAN, STOP MODERNISTS, PROCESSORY and since 2012, SIN COS TAN with VILLA NAH’s Juho Paalosmaa.

With over a dozen long players already to his name, Hulkkonen latest opus opens with ‘The Becoming’, a spacey ambient poem that sees Ralf Dörper of DIE KRUPPS and PROPAGANDA enigmatically offer his treated prose. With patterns accenting on the offbeats, ‘Under The Rug’ provides a stuttering trance piece voiced by the birthday boy himself but actually refrains from using any percussive attack.

‘Hard To Bite’ sees Hulkkonen partnered again with his most frequent collaborator of recent years, Juho Paalosmaa; over a speedy heartbeat, the SIN COS TAN and VILLA NAH singer provides his characteristic anguish over a moodily arpeggiated backdrop. Once the front man of SCISSOR SISTERS but now a solo artist on Mute, Jake Shears unexpectedly dials down his flamboyant falsetto for a deeper growl on the excellent avant disco lento of ‘May These Bruises Be My Only Tattoos’ while Hulkkonen provides its layers and hooks.

Continuing the mood with the surprise of jazz piano, ‘She’s A Hunter, I’m Just A Gatherer’ featuring Art Feynman (aka Luke Temple) plays with all manner of rhythmic textures but the cacophony of sound might prove confusing to some ears on initial listening. But recalling NEW ORDER when influenced by Ennio Morricone and locked to a baggy groove, ‘Fan Fiction’ sees the dulcet tones of Finnish singer Ty Roxy captivate over an expansive Spaghetti Western soundscape.

On the mellower filmic side with echoes of the previous Hulkkonen project PROCESSORY, ’Countless Other Lives’ sees Jon Marsh of THE BELOVED on one of his first released vocal performances since a guest appearance with WESTBAM in 2020. However, the body gets strong as a full-on dance workout makes its presence felt on ‘Cruise Control’ with Norway’s Naeon Teardrops, the new more electronica-tinged project of techno exponent Per Martinsen and it provides a punchy dynamic diversion from the other tracks on ‘There Is Light Hidden In These Shadows’.

Displaying Hulkkonen’s love of PET SHOP BOYS, hearing John Grant on a house-driven pop track like ‘I’m Going To Hell’ is pure joy on the final straight before he reunites with old mucker Tiga on the sparse cosmic ballad ‘When The End Comes’ which hypnotises via its sequencer passages and eerie soundscape before coming to a sudden end.

While not all of ‘There Is Light Hidden In These Shadows’ hits the spot and some tracks are perhaps too long, all are interesting to the ear and the production cannot be faulted. With a number of outstanding highlights, Jori Hulkkonen proves once again why he has been one of the best electronic music producers in Europe for nearly three decades.


‘There Is Light Hidden In These Shadows’ is released by Blanco & Tinto Recordings, available on the usual online platforms

http://www.jorihulkkonen.com

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https://twitter.com/jorihulkkonen

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Text by Chi Ming Lai
28 September 2023

MAN WITHOUT COUNTRY Infinity Mirror

Now onto album number three and without original musical partner Tomas Greenhalf, Ryan James continues to hone and develop his hybrid mix of luxuriant synthetics and subtle guitar textures as MAN WITHOUT COUNTRY.

Already preceded by three singles ‘Remember the Bad Things’, ‘Lafayette’ and ‘Achilles Heel’, ‘Infinity Mirror’ features another nine tracks and doesn’t deviate too far from the template that James has developed so far on previous longer form releases ‘King Complex’, ‘Foe’ and ‘Maximum Entropy’.

The album feels more electronic and slightly more contemporary because in the main, it lacks the presence of the breakbeat style drums that were a signature feature on earlier material such as ‘Puppets’.

Album opener ‘Preface’ features a combo of highly processed glitched vocal effects and the kind of ethereal guitar that THE XX used to do so well. ‘Lion Mind’ combines a shuffling drum loop reminiscent of DUBSTAR’s classic ‘Stars’ and some quirky high pitched synth lines. For those already familiar with MAN WITHOUT COUNTRY lyrics, much of the narrative here comes across as ultra-personal with the main hooks “running from the rest of my life” and “my lion mind has disappeared” displaying an open insecurity.

‘Remember The Bad Things’ has a synth hook in the style of THE BELOVED style (MAN WITHOUT COUNTRY have previously covered ‘Sweet Harmony’) melded to a chord progression inspired by THE CURE. Despite the title, there is something curiously life-affirming about ‘Remember The Bad Things’ and the sampled guitar power-chords drive the song to an epic conclusion.

‘Beta Blocker’ is arguably the biggest deviation in sound on ‘Infinity Mirror’, with a huge ‘Dr. Mabuse’ synth bass sound and ZTT-style production (replete with Fairlight Orchestra samples). Rippling filtered synth arpeggios which echo the omnipresent ‘Stranger Things’ theme bring the song to its conclusion.

‘Lafayette’ remains an utterly gorgeous track, listening to it is akin to relaxing in an electronic bubblebath; 808 percussion and beautifully understated guitar subtly underpin the track which is easily the stand-out on ‘Infinity Mirror’. Titled after the forename of L Ron Hubbard (science fiction / fantasy author and latterly Scientology leader), the lyrics are peppered with subtle references to the cult of Dianetics and ends with the cryptic hook “wrap me up inside your blackout curtain”.

‘Skeletons’ is a waltzing piece, with backwards drum-loops and 8 bit Nintendo synth sound, whilst ‘Achilles’ Heel’ takes the album in a 4/4 direction with a welcome resuscitation of the classic Korg M1 house piano and organ bass sounds. Also worthy of mention is the brilliant vocodered synth vocal solo at the end, probably the best of its kind since the one featured on MYLO’s ‘Drop The Pressure’.

‘Infinity Mirror’ ends with the almost ambient title track; epic sweeping synth pads and echoed vocal textures slow the pulse down and take the listener into a dream-like state before the song builds to a crescendo and quickly descends into a sudden cacophony of noise.

Criticisms? There is but one, the auto-tuned over-processed vocal effects can get a bit wearing as they are present on all of the songs, but they do suit the lush synthetic aesthetic here and the attention to detail with their production is nonetheless technically brilliant.

The fact that ‘Infinity Mirror’ is primarily the work of just one musician is incredible, there is SO much craft and melody on show here you will struggle to hear a better electronic album this year – this is absolutely outstanding.


‘Infinity Mirror’ is released by Killing Moon Records in CD, double clear vinyl LP, USB and digital formats, available direct from https://manwithoutcountry.bandcamp.com/album/infinity-mirror

MAN WITHOUT COUNTRY plays live at The Old Blue Last in London on 26th November 2018 – entry is free but tickets must be obtained from https://dice.fm/event/99l79-man-without-country-26th-nov-the-old-blue-last-london-tickets

https://manwithout.country/

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Text by Paul Boddy
26th October 2018