Author Archives: Arcana

Unknown's avatar

About Arcana

My name is Ben Hogwood, editor of the Arcana music site (arcana.fm)

Switched On – Floating Points – Cascade (Ninja Tune)

Posted on by
1

by Ben Hogwood

What’s the story?

This is the fifth Floating Points album, and the first since Sam Shepherd’s alias teamed up with Pharoah Sanders and the London Symphony Orchestra for the memorable Promises, one of the very best albums released around lockdown.

That period provided the indirect inspiration for Cascade, for Shepherd had grown frustrated at the lack of opportunities to promote his preceding solo album, Crush, to heaving dancefloors where its potential clearly lay. Seizing the opportunity to write for the club crowds, he delivered an album of speed and complexity.

What’s the music like?

There is some dazzling music on Cascade. A lot happens in the hour in which it unfolds, and while some of the tracks are quite complicated in their arrangements, Shepherd’s trump card lies in his ability to make intricate music that rewards close inspection while making some eminently danceable grooves.

That applies very much to Birth4000, which traverses a number of styles while ensuring there are plenty of hooks for the listener to latch on to. Afflecks Place – named after the Manchester market – bubbles up from the ground, in the power of an elemental force, while Key103 has primal urges taking us right into the middle of the dancefloor.

The larger structures work really well, the album only nine tracks but featuring a couple of bigger constructions such as Ocotillo and Vocoder that develop instinctively and dramatically.

Does it all work?

It does. On occasion Shepherd’s music almost has too much going on, but he seems to pull it back it just the right moment, and adding the closing track Ablaze as a comedown works a treat.

Is it recommended?

Yes, enthusiastically. A dizzying high that delivers on several levels.

For fans of… Squarepusher, Throwing Snow, Mount Kimbie, Jamie xx

Listen & Buy

Published post no.2,302 – Monday 16 September 2024

On Record – The Silver Abduction: The Silver Abduction (Lightwell Recordings)

Posted on by
Reply

by Ben Hogwood

What’s the story?

Not much is known about The Silver Abduction…but all you really need to know is that this is the first record from a collaboration between Andy Dragazis (the man behind Blue States) and singer Allison Brice (who has previous with The 18th Day Of May and Lake Ruth).

Their short descriptive biography over on Bandcamp suggests a combination of ‘lush orchestral melodies, church reverb drenched drums intertwined with Allison’s haunting vocals and lyrics.

What’s the music like?

This album is a slow burner, and with repeated listens it starts to become a real treasure. Dragazis has a great deal of experience on beautifully voiced pop songs, and here he makes some richly coloured productions over which Brice can work her magic.

The lyrics themselves suggest wistful, lovelorn situations that are given real meaning by Brice, who sings with deep emotion. There is definitely a pop sensibility that suggests Stereolab, Broadcast or Saint Etienne – the latter on Remember My Heart especially, which is a pop treasure.

Thermocline is a winsome combination of Dragazis’ orchestral palette and Brice’s flexible vocals, while Careful On The Ways is a wistful, late summer beauty. Quarter To Two tells a vivid story, while the closing Cecile is a waltz in what feels like an empty fairground.

Does it all work?

It does. These are pop songs with depth and subtle but lasting expression, and the album is ideally structured. Brice could pretty much be singing about stocks and shares and still make a lasting impression – that she’s not makes the album even more meaningful.

Is it recommended?

Definitely. The Silver Abduction are a treasure, and hopefully this is the start of a lengthy musical relationship. A beauty!

For fans of… Saint Etienne, Dubstar, Kinobe, The Sundays

Listen and Buy

Published post no.2,301 – Saturday 14 September 2024

On Record – Masayoshi Fujita: Migratory (Erased Tapes)

Posted on by
Reply

by Ben Hogwood

What’s the story?

A new album from Masayoshi Fujita, whose exploits with the vibraphone and marimba have seen him explore new sounds in music inspired by nature.

Fujita returned to his native Japan from Berlin in 2020, locating with his family in the mountains of Kami-cho, Hyōgo – where he turned an old kindergarten into a recording studio. The first album released on his return, Bird Ambience, put Arcana under its spell with its enchanting and expressive writing.

To his well-known mix of marimba, vibraphone and synthesizer, Fujita now adds vocals from Moor Mother and Hatis Noit, with guest contributions on saxophone (Osamu Fujita) and shō (Mattias Hållsten).

What’s the music like?

Listening to Fujita’s music is akin to glimpsing a rare bird in bright evening sunshine. His compositions are notable for their rare beauty, and on Migratory he captures the climate of late summer sunshine. It’s easy to imagine where these works were composed, with a great deal of light and space but also brightness that makes the music glint at the edges.

Pale Purple is an especially beautiful composition, with soft drones and half-conscious thoughts on the marimba given wonderful colours by the shō. Moor Mother excels on Our Mother’s Lights, where the brightly coloured textures shimmer in response to the voice. There are lovely, soft tones on the restful Desonata, while the tone painting on In A Sunny Meadow is uncanny, and rather beautiful. Valley, meanwhile, is a mere breath of wind, drawing the listener in with its subtle bass sounds.

Does it all work?

It does. Fujita writes fluently and gracefully, the bright tones of his music lifting the mood.

Is it recommended?

Yes. If you’ve been following Fujita’s career you will not be surprised to learn that his masterful way of writing for vibraphone and marimba remains unchanged, but the addition of extra instruments here mean the music blossoms, extra colours added to his spectrum.

For fans of… Terry Riley, Laraaji, Bing & Ruth, Harold Budd

Listen and Buy

Published post no.2,301 – Saturday 14 September 2024

For Schoenberg’s 150th birthday: 6 Little Piano Pieces & Verklärte Nacht

Posted on by
Reply

by Ben Hogwood. Portrait of Arnold Schoenberg by Richard Gerstl, circa June 1905

On this day in 1874, 150 years ago, one of the most revolutionary – and divisive – composers was born in Vienna. Arnold Schoenberg gained notoriety for his groundbreaking style of composition that took him first to the outer limits of tonality, and then beyond.

Today he remains a musical figure guaranteed to split opinion within a room of classical music fans, and well beyond – though as we have seen at the BBC Proms this season, his music is a lot more approachable than you might think.

There will be a fair bit more about him on these pages in the next couple of months, including an interview with leading British soprano Claire Booth, who has made a striking new recording of his melodrama Pierrot Lunaire. For now, though, I urge you to enjoy two very contrasting videos of Schoenberg’s music.

The first is a performance of his Sechs kleine Klavierstücke, published as Op.19 in 1913 – after his break with tonality. They show a remarkable, compressed intensity, creating vivid pictures and emotion flying in the face of music that, having left conventional working behind, is alleged to be devoid of feeling. This performance from legendary pianist Glenn Gould totally refutes that:

Following that, here is one of Schoenberg’s early masterpieces, the deeply atmospheric Verklarte Nacht (Transfigured Night), published as the composer’s Op.4 in 1899:

Published post no.2,300 – Friday 13 September 2024

Let’s Dance – Simon Field: Panda (Basement Records)

Posted on by
Reply

by Ben Hogwood

What’s the story?

Panda is the new album from Oslo’s Simon Field, whose nine tracks look towards classic Chicago house for their inspiration while keeping a close eye on the underground scene in the Norwegian capital.

Deep, tech vocal house is the name of the game for Field, who has a number of key releases in his locker for labels such as Armada, Universal Music, Sony Music Ultra, Perfect Havoc and his own Basement Records, which he established to focus on underground house music with no need for commercial gain. Basement Sessions is a club series in Oslo, celebrating the underground sound.

Guests include Delphi Drive and Blichfedlt.

What’s the music like?

Simon Field has a persuasive way of blending deeper textures and bass with upfront four to the floor beats, making some very danceable grooves in the process. A little goes a long way in his music, supported by fulsome kick drums and subtly funky bass loops, as in One More Time (For The Panda).

The album takes off with PanAm, its raucous spoken word intro complemented with a cool riff, while by contrast F With The Energy is deep and dark, laced with sharp edges. Here With Me taps into those same qualities, with a cool vocal, as does the warm weather winner Not Even A DJ. Meanwhile Gone Gone Gone gets more upfront movement from its excellent riff.

The guests work well, Blichfeldlt panning across the stereo picture during Michael Caine, and Just Martina capitalising on Field’s rolling beats.

Does it all work?

Pretty much – Field’s dancefloor methods are effective throughout.

Is it recommended?

Yes – no padding here! Simon Field’s album is ripe for the deeper house music dancefloor.

For fans of… Luke Solomon, Heller & Farley, Camelphat, Mark Knight

Listen & Buy

For more information on the album and to explore purchase options, visit Simon Field’s website

Published post no.2,299 – Thursday 12 September 2024