From Emika’s own words: “I’ve had this sound in my head for many years, this record saved my life”.
Haze finds Emika unifying a lot of the elements that have been present in her music so far – in the words of the Bandcamp commentary, ‘a blend of her neoclassical descending melodies, signature breathy, female vocals, icy pianos, heavy sub-bass vibrations and layered Hazy beats. Let’s call it Emika’s love-affair with the Future Garage genre.’
What’s the music like?
This is music to dive into, as Emika hits the sweet spot between pure ambience and busy musical activity. The latter brings positive energy through glitchy beats, murmured vocals and piano-driven motifs, often manipulated in music that wraps the listener up like cotton wool.
Emika cleverly weaves in thematic unity between the pieces, with slowly descending motifs that are presented with different backdrops or energy, the beats usually moving quickly and delicately in the middle ground.
(star key) is a beauty for the morning after, the familiar descending motif given fluttering beats and expansive production for company and setting the mood for the rest of the album. The breakbeats are crisply executed, reminiscent of Bicep or Burial but striking out individually too.
As the album progresses the pieces get shorter, their one-word titles (Ache, Shards, Rain, the beat-driven Waltz), are borne out in music of descriptive, cold elegance. Smoke is a beauty, with chord progressions of frozen beauty, while Writer exerts thoughtful arpeggios and breathy vocals that float on air. Low End feels like a piece of ‘Netflix noir’, and indeed much of the music would be very much at home providing the soundtrack for an Alex Garland series.
Does it all work?
It does. This is atmospheric music, perfect for mindful contemplation but with plenty of energy to reward foreground listening.
Is it recommended?
Very much so. Emika is one of those consistently versatile artists who is often on the move in a good way – and that is certainly the case here. Lively yet ambient, Haze is the ideal antidote to the overexposure and overstimulation given to us by the modern world.
James Devane has been busy – but along with his personal investment comes music of chance.
In his own words: “These recordings are the result of chance. Using hours of source material, everything was “chosen”, manipulated, and assembled at random via custom software without concern for key, tempo, measures, or rhythm. A search button and a save button.”
What’s the music like?
Consistently good – with a wide range of sonic panoramas as the album unfolds. The glitchy rhythm of Kilter proves to be rewarding, with a spatial backdrop. On One Place he puts the squeeze on the melodic material, and the same with the hi hat appropriation on No More No Less. Bottom Dweller is surprisingly ambient, while Vascai has a fulsome presence.
As part of the varied emotional backdrop, Maybe Tomorrow is a bassy beauty ending in a rich pool of sound, before the dubby Last Strut. Lights Down Low is heavier and bassy but atmospheric with it, while the booming Ending is almost too oppressive but signs off in style.
Does it all work?
Yes – a wide variety of styles for sure, but brought together in a way that makes Searching a coherent album.
Is it recommended?
It is. James Devane proves himself to be a highly versatile producer, traversing a number of contrasting moods through this album. It proves extremely effective, a really impressive addition to the canon.
Melodramma giocoso in Two Acts – music by Giuseppe Verdi; Libretto by Felice Romani (revised by the composer)
Sung in Italian with English surtitles
Il Cavaliere di Belfiore – Joshua Hopkins (baritone), Il Barone di Kelbar – Henry Waddington (bass-baritone), La Marchesa del Poggio – Christine Rice (mezzo-soprano), Giulietta di Kelbar – Maddison Leonard (soprano), Edoardo di Sanval – Oliver Sewell (tenor), La Rocca – Grant Doyle (baritone), Il Conte Ivrea – Robert Murray (tenor), Delmonte – James Micklethwaite (tenor), Servant – Daniel Vening (bass)
Christopher Alden (director), Charles Edwards (sets), Sue Willmington (costumes), Ben Pickersgill (lighting), Illuminos (Matt and Rob Vale) (video), Tim Claydon (choreographer)
Garsington Opera Chorus, Philharmonia Orchestra / Chris Hopkins
Garsington Opera, Wormsley Monday 1 July 2024
review by Richard Whitehouse Photos by (c) Julian Guidera and Richard Hubert Smith (as marked)
Garsington Opera has a laudable track-record in presenting rarities or supposed ‘also-rans’ to best advantage, with this new production of Un giorno di regno no exception. Verdi’s second opera fell flat on its premiere at La Scala in September 1840, though the death of his wife and both of his children over the previous two years meant his heart was simply not in the writing of a comic opera: one of several extenuating circumstances that included a dearth of suitable singers for the main roles plus the demonstrably backward-looking nature of the work itself.
All credit to Christopher Alden for creating a production which, whatever its modishness of appearance, is rarely less then relevant and always entertaining. Verdi’s hurried refashioning of a 22-year-old libretto – concerning real-life impersonation of King Stanislaus prior to his briefly regaining the Polish crown in 1733 – was never likely to thrill the Milanese audience, but it does provide a lively context for this sequence of increasingly inane goings-on such as respond well to being situated in an authoritarian state swamped by ‘fake news’ and political one-upmanship. Just occasionally the deluge of video imagery threatens to overwhelm what is being enacted on stage but, overall, what can seem a needlessly involved and diffuse plot is, if not simplified, thrown into sharper focus so as to maintain the interest of those present.
In so doing, Alden is abetted by the faux-stylishness of Charles Edwards’s sets and the no less eye-catching costumes of Sue Willmington – their combined effect enhanced by the dextrous lighting of Ben Pickersgill and a video component from the Illuminos duo that adds greatly to the effect of immersive decadence. Nor is the choreography of Tim Claydon found wanting in its physicality and convincing use of all available stage-space, not least those gangways in the auditorium that function briefly if vividly as its extension for certain highpoints of the action.
Madison Leonard in Un giorno di regno Garsington Opera
opens Garsington 29.06.24
photo credit: Richard Hubert Smith
An opera production is arguably only as good as its singers, and the present cast could hardly be bettered. As the false king Belfiore, Joshua Hopkins brings style and suavity to a role that could easily become insipid – and with his ‘Freddie Mercury’ cameo carried off to perfection. Teasing out the cowardliness behind his thuggery, Henry Waddington is ideally cast as Kelbar and Grant Doyle hardly less so as the scheming La Rocca – his ‘sparring partner’ made literal during their uproarious breakfast confrontation. Oliver Sewell overcame initial unsteadiness to deliver an Edoardo of resolve and eloquence, with Robert Murray the stealthily insinuating Ivrea. Neither female role leaves anything to be desired – Madison Leonard vulnerable for all her minx-like persona; Christine Rice stealing the show as the Marchesa whose solo spots are the opera’s likely highlights. James Micklethwaite and Daniel Vening both acquit themselves ably, while Garsington Opera Chorus evidently enjoys its collective function as those ‘people in black’ who variously comment on the action then intervene often forcibly when necessary.
Stepping in at the eleventh hour (for an indisposed Tobias Ringborg), Chris Hopkins directed with verve and real sense of musical continuity – not least when Verdi (seemingly for the only time in his career) made recourse to ‘recitativo secco’ which here furthers the action without impeding its progress. Otherwise, the Philharmonia Orchestra despatches with relish a score which, for all that this lacks the sophistication and urbanity of Rossini’s or Donizetti’s mature comedies, crackles with energy along with an engaging personality for which it has not yet had its due.
Members of the Garsington Opera chorus in Un giorno di regno – opens Garsington 29.06.24
photo credit: Richard Hubert Smith
Although a lesser opera in the Verdi canon, Un giorno di regno met with modest success even in his lifetime and its later revivals were well received. Thanks to this Garsington production, his ‘King for a Day’ finds itself more than able to enjoy a timely 15 minutes in the spotlight.
Wolfgang Valbrun is the lead singer of successful UK band ephemerals, who have attracted a worldwide following for their leftfield soul and jazz over the last 12 years. He has also worked with the French band GUTS, but more recently has branched out for his first solo album under his own name.
Working with a band based in Bristol, Valbrun wrote his album as ‘a powerful and introspective look at human frailty’, blurring the lines between soul, jazz and rock.
What’s the music like?
Meaningful, soulful and incredibly assured.
Valbrun is a natural vocalist, and he sings in a way that is immediately identifiable. The lyrics mean a great deal to him, which sounds like an obvious thing to say, but it is amazing how many singers do not always bring this across or get lost in the production. Not in this case.
Songs like Keep Your Head Up, Some Day and Where Is The Peace acknowledge the trials and tribulations of everyday life, in a way that is immediately relatable, but Valbrun’s message is that for his listeners not to give up, to harness their inner strength and to keep persevering. The latter of the three is especially powerful, a protest song questioning Valbrun’s home country of France and their approach to minorities. It does so in a strong yet cogent language.
In the wrong hands this could sound empty, but there is such substance to Valbrun’s singing, and the songs are so well-written, that by the time you’re heading for the closing title track you are suitably enriched. Flawed By Design is a fine closing number, but if anything the preceding Baptist is more powerful, Valbrun’s honesty and vulnerability laid bare.
Does it all work?
It does. Music, lyrics, production – all match up ideally here on a modern soul record to treasure.
Is it recommended?
It is. Wolfgang Valbrun has a voice of real presence, and given the music to match it he should go a long way. Flawed By Design scores highly for being an authentic soul album, one that doesn’t shy away from the problems of the modern world. Instead, by embracing them, Valbrun gives us hope and assurance. Definitely a voice to watch!
For fans of… Eli Reed, Sharon Jones and the Dap-Kings, Alabama Shakes, Quantic Soul Orchestra
Now we bring news of a sequel later in the year, with Eno Piano 2 due to be released on 25 October. It is prefaced by a radio version of 1-1 from Music for Airports, which will no doubt be made available soon. In the meantime, you can enjoy being reacquainted with the full version below:
Arcana.fm 