by Ben Hogwood

What’s the story?

Sometimes, a press release for an album tells you the story in exactly the form you want it to. This is the case with Copper Sounds, whose story runs as follows from the Sequenced Ceramics Bandcamp page:

A unique take on deconstructed club / ambient music, the intimate and immersive sounds on Sequenced Ceramics were made using seven purpose-built ceramic vessels, played using a custom-made sequencer and mechanical beaters. The album is released as a limited edition of 50 ceramic vessels, each one unique, and glazed with a download code. This ceramic is also an instrument, its shape based on one of the seven ceramics used on the album.

“While developing Sequenced Ceramics, we were initially inspired by traditional and highly sculptural clay instruments such as the Udu and the Ghatam. We then experimented with different clays, forms and scales; allowing us to understand the specific acoustic and resonant properties of ceramics. Through this process we began to think about sound, like clay, as a malleable material which you can manipulate through various sculpting and making processes. The final sculptures showcase a range of traditional ceramic making techniques, forms and are made with both visual and sonic aesthetics in mind.”

These sculptures were initially presented together as an installation and have recently been shown at the British Ceramics Biennial 2023 and Indian Ceramics Treinnale 2024. The album features seven sequences composed on this array by the duo, including a collaboration with Tara Clerkin and Sunny Joe Paradisos, and reinterpretations by DJ 2 Button, Memotone, Dan Thorman, Deep Nalström, Wojciech Rusin and Dwhyte Olivers.

What’s the music like?

The music ends up as a fascinating mix of positive energy and ambience. Above all, it feels old and primitive, in a good way – for the rhythmic profiles generated are easy on the ear but could be heard sitting around the fire.

The seven Sequences unfold very naturally, each with a different rhythmic profile that fits the sequences around it.

There is a striking centre point on the album, too – the vocals of Tara Clerkin and Sunny Joe Paradisos adding unexpected emotion to Sequence 4.

As a substantial bonus there is a range of mixes from carefully considered producers, many of whom take the ritual feel of the original further down the road. Dan Thorman’s Pseudo-Spiritual Drone is especially good, time stopping still as the harmonies slowly shift. By contrast Memotone’s Inebriated Cop Following Suspect stumbles across the path with unpredictable movements, and Wojciech Rusin’s Dzban mix projects hyperactive movement.

Does it all work?

It does – and is best heard on headphones, where the wide range of frequencies can be properly appreciated.

Is it recommended?

It is. This is a thought-provoking piece of work that takes its music back to basics, and the mixes are the ideal complement. A sonic investigation well worth making.

For fans of… Kathy Hinde, Cabaret Voltaire, Daphne Oram

Listen and Buy

Published post no.2,206 – Tuesday 11 June 2024