Floating Points, aka Sam Shepherd, has today shared a new single, Del Oro, which is out now via Ninja Tune.
With a busy summer of live appearances ahead, Shepherd is following up the energetic Birth4000 from last year with a single that has some of the Floating Points hallmarks. Beat driven and busy, Del Oro progresses between minimal beats and shimmering motifs, while never taking its eyes off the dancefloor.
As with Birth4000, ‘Del Oro”s artwork comes from Tokyo based artist Akiko Nakayama. In the words of Shepherd’s press release, “Nakayama brings her painting to life using vibrant, brilliant liquids that combine and wash away, meant to represent the natural growth, change and life cycle of all things on earth. Nakayama worked alongside long-time Floating Points collaborators Hamill Industries to create the “Alive Painting” to accompany the track”…which you can watch here:
Shepherd will be playing a number of dates throughout the summer including We Out Here Festival in Wimborne (16 August), London’s All Points East (23 August), Lost Village Festival in Lincoln (24 August) and Forwards Festival at Bristol (31 August)
There is a refreshing lack of information to go with the new BEAK>> album. It is, quite simply, the need of a group of people to make music, with no back story in particular – just the love of what they do and can achieve together.
This is probably why >>>> does not have more of a distinctive title, as the music is left alone to have the best possible impact. It was recorded at Invada studios in Bristol, the sessions dotted around to accommodate the band’s touring schedule.
There is, however, a story behind the opening track Strawberry Line, which is a tribute to Geoff Barrow’s much-loved dog Alfie, who appears on the album’s cover.
What’s the music like?
Compelling. As the band say, it works best listened to in one breath from start to finish, where the listener can appreciate how the grooves take hold through the album.
The Alfie tribute, Strawberry Line, starts with a solemn, chorale-like figure, which eventually acquires a groove and grows to impressive heights. The Seal has a clipped rhythm and greater urgency, while Windmill Hill starts the more beat-driven section of the album with an appealing, wonky groove.
From here on the bass heads are in for a treat, thanks to the grooves of Hungry Are We and Ah Yeh, which has been around for a little while, and makes a very strong impact in this LP version. As the album progresses the spirits rise further, with a brilliant bass line on Bloody Miles and some clanging, metallic percussion that propels Secrets towards the 1980s in the company of a buzzing synth code.
The closing Cellophane is an unsettling affair, however, going through a woozy vocal and distracted band passage before suddenly gaining momentum like a dance of death, careering into the buffers at the end.
Does it all work?
It does – and the bigger the system the better for this affair, so that the bass driven tracks make their mark and the woozy, psychedelic dressing gets its full perspective.
Is it recommended?
Very much so. BEAK>> are continuing on their compelling path of sonic innovation with this powerful and multifaceted piece of work.
For fans of… Portishead, Magazine, Cabaret Voltaire, Can
Howe Gelb is a seasoned musician of many projects, so it is entirely within character to see him popping up with a solo piano album for AKP Recordings.
Made in his Arizona dwelling, it is a private affair, with Gelb on the piano in an adobe room insulated with denim, ensuring the acoustic is intimate and without reverberation.
Discussing the album, Gelb says, “Nature is in itself an improvisation. It can never be an accurately nor consistently planned thing. It should also be noted an extreme climate resonates with emotional wherewithal. Thus, these captured pieces of pianistic atmospheres are simple paintings of the horizon, a semi still life, the net result of allowance, and never intended to be drawn again. Resonance achieved via residence.”
What’s the music like?
Listening to this album gives the impression of eavesdropping on a pianist from the room next door. Gelb’s conversational way of playing is at once appealing, the soft tones of the piano providing an ambience like no other.
The musical language is simple but in a rewarding sense, like an Erik Satie Gymopèdie might be. Weathered itself wears a distracted look, as though the pianist is preoccupied with looking out the window, but Barometer is more structured and completely charming. There is light humour in Coffee vs Rain and Puddle Jumpin’, and a touch of humidity in The Promise Of Thunder.
Gelb’s melodies have light inflections and ornaments, suggesting a jazz influence that sits in the middle ground. Although the reverberation is deadened by the recording conditions, Gelb keeps the sustain pedal down for much of Rhapsody In Cloud Formation, the pitches colliding softly with consonant overtones until an unexpected ending in the lower pitches.
Perhaps the most meaningful piece is the extended central opus, The Sky That Can’t Make Up Its Mind. Here the thoughts and moods are varied, at times going off centre but then coming back, exploring each end of the piano with a youthful mind. There are sudden sharp bursts of clarity and a surprisingly discordant centre, before the piece comes home to rest having traversed all the moods.
Does it all work?
It does. With an intentionally lazy, improvised approach, Gelb has made an instinctive album that allows the mind to wander.
Is it recommended?
It is. Weathered Piano is a pleasing anecdote to the more clinical piano sound served up alongside many a morning coffee. It is a charming piece of work, a more than pleasant distraction for home listening.
For fans of… Erik Satie, Chilly Gonzales, Joep Beving
Travis Stewart releases his 11th album under the Machinedrum alias, a work that began on his 41st birthday when he took a trip to the Joshua Tree National Park in California. There the thought process towards this 12-track opus began; 12 tracks that include a whole host of collaborators.
It traverses a wide range of speeds and styles in the company of Jesse Boykins III, a close friend and the album’s producer, while the vocal roster includes Tinashe, KUČKA, Duckwrth, AKTHESAVIOR, Mick Jenkins, Ezri, Tanerélle, Deniro Farrar, Topaz Jones, deem spencer, aja monet, ROZET, Will Johnson and Ian Maciak.
What’s the music like?
This is a pretty hectic album, in a good way. There is a great deal going on in a short space of time, Machinedrum packing most tracks into three minutes or less. He does this by getting straight to the point with his beat work and lyrics.
It proves to be a thrilling ride, especially on tracks such as ILIKEU, with its appealing bumpy garage, the bassy RESPEK, and the helium-inflected vocals of KUČKA, who brings euphoria to the quickfire beats of U_WANT.
The lyrical observations are pertinent, too – especially WEARY’s observation from Mick Jenkins that “I don’t see too much backbone these days”.
There are vibrant rhythms throughout, as Machinedrum moves between drum & bass, hip hop, R&B and quickfire house, and this stylistic melting pot comes to a head on tracks like Zoom, where the heady production is complemented by brilliant vocals by Tinashe.
Does it all work?
It does – and if anything it’s all over a bit too soon, as the 12 tracks whizz by in a euphoric blur.
Is it recommended?
Yes. 3FOR82 is a thrilling ride through the mind of Machinedrum, who manages to keep all his collaborators true to his own musical identity. This particular melting pot serves up a rewarding musical dish.
Anne-Sophie Mutter (violin), London Symphony Orchestra / Thomas Adès
Stravinsky Orpheus (1947) Lutosławski Partita (for Violin and Orchestra) (1988) Adès Air – Homage to Sibelius (Violin Concerto) (UK premiere) (2021-22) Stravinsky Agon (1953-57)
Barbican Hall, London Thursday 31 May 2024
Reviewed by Ben Hogwood Pictures (c) Mark Allan
This rewarding concert featured the imaginative programming of four works looking simultaneously backwards and forwards, with two great Stravinsky ballets framing shorter works for violin and orchestra.
Anne-Sophie Mutter (below) has forged a pioneering path for contemporary music throughout her career, and added another dedication to an illustrious list that includes Lutosławski, Penderecki, Sir André Previn and Unsuk Chin. Air – Homage to Sibelius was written in the light of her admiration for Adès’ Concentric Paths, his Violin Concerto of 2005. It is a very different work indeed, an extended meditation based on a single melody written in the slow days of lockdown in 2021. In the execution Adès brought his music unexpectedly close to that of John Tavener or Arvo Pärt, the latter’s Cantus in memoriam Benjamin Britten recalled by the solemnly descending melody. Beginning on high with the orchestral violins, this was soon joined by Mutter’s silky-smooth tones. Now the piece developed with the soloist in charge, its serene progress tinged with longing. With no brass in the orchestra the textures were light, with tuned gongs suggesting a soft breeze, before the music gained weight on the gradual descent as though nearing the bottom of a mountain. The Sibelius homage could be determined in the line and structure of the piece, and also the rarefied light that it cast adrift.
Before the interval we heard Lutosławski’s Partita, written initially for violin and piano in 1984 but orchestrated for Mutter four years later. The word ‘partita’ is interpreted by Lutosławski in its 18th century form, and this work begins with a stern Allegro giusto that comes adrift when the soloist starts to use portamento, the melody travelling through microtones. Mutter’s control here was masterful, yet the feeling of dislocation was compounded. The central Largo was powerful indeed, the violin singing a darker song, before the closing Presto brought a terrific burst of energy, the colourful orchestration prompting and cajoling. Mutter’s voice, though, spoke the loudest.
The concert had begun with a relatively rare live account of Orpheus, the second of Stravinsky’s three Greek ballets. Thomas Adès directed a compelling performance of a work whose dynamic levels remain quiet for almost the entire half hour – yet contain music of acute description and poignancy. There is dread too, which Adès brought out in the scenes where Orpheus is surrounded by the Furies, then where he met his untimely demise at the hands of the Bacchantes. With the harp of Bryn Lewis treading a solitary, elegant line, Orpheus’ lyre remained as a ghostly presence right through to the end – in spite of the efforts of the Angel of Death, brilliantly voiced by violinist and orchestra leader Benjamin Gilmore.
The concert finished with the remarkable Agon, with which Stravinsky completed his Greek trilogy and indeed entire ballet output when premiered in New York in 1957. Even in his mid-70s the composer was pushing boundaries, this time in the direction of Schoenberg’s serial technique, without compromising his dramatic instincts. With no plot, Agon is essentially a celebration of movement, Stravinsky free to explore old dance forms through the prism of twentieth century harmony and melody, with remarkably imaginative instrumentation. This performance fully revealed its genius, the Renaissance and Baroque dances given a new lease of life with orchestration turned on its head. The colours were enhanced by mandolin (Huw Davies), harp (Bryn Lewis) and percussion (Neil Percy and Tom Edwards), not to mention the superb LSO brass, wind and string sections. Double basses got in on the act, playing high in the register, the weird and wonderful sounds given gruff harmonies and comedic punctuation as the ballet unfolded. Light and shade were exquisitely explored, the advantage of having a composer-conductor such as Thomas Adès at the helm meaning no stone was left unturned. This was a memorable interpretation, capping a wholly stimulating evening of music making.
Arcana.fm 