by Ben Hogwood
What’s the story?
As OGRE Sound, Robin Ogden makes music for imaginary films.
In the case of WILDER, his brief is to explore isolation – or, in his words, ‘daily life as an allergenic catalyst for revolution; the closed community as incubator for human dysfunction’ or – deep breath – ‘the occultation of violent aberrance and taboo pathologies birthed from vicious (sub)urban boredom’.
What’s the music like?
Ogden’s words make more sense when the Ballardian soundscapes stretch out in front of the listener – but this is slow, intense music that reveals its secrets gradually, incrementally, keeping a firm grip on its structure.
The mind’s eye has a constant picture thanks to Ogden’s descriptive writing, which can move from bleak vistas to richly layered soundscapes.
He employs big percussion for A Devil With His Horns and Wilder, while by contrast some of the shorter numbers prove to be disconcerting interludes. Intensity Is The Love Of The Beholder stretches out with sustained lines and a soft, consoling loop. Crucible is darker, glowering in the half light.
With its solid drum track and slightly quicker tempo, Children Of Revenge has an unmistakable ‘closing credits’ feel.
Does it all work?
It does. If you enjoyed the soundtracks to the likes of Stranger Things or The Rig then you’ll get a good deal from Ogden’s writing here. If anything some of the interludes could have been elongated to make more substantial numbers.
Is it recommended?
Yes – with power and precision, OGRE Sound makes a strong impression.
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