Robert and Lyric Hood announce the release of their fourth studio album The Master’s Plan, landing on Luke Solomon’s Classic Music Company imprint on Friday 21 June. Spanning 18 crafted house and techno tracks, Robert and Lyric playfully juxtapose the light and dark of their signature sound, navigating a spectrum of genres and styles on this highly anticipated body of work.
Robert recognises the uplifting qualities of their music, saying, “In these troubled times, we are grateful to be able to share our music with the world. Especially the dance community. We hope this album will uplift and invoke you to dance.” Meanwhile daughter Lyric comments, “I want people to feel inspired and empowered, but most of all to feel the love of God and his connection in every track. This album was made for the fans that love house music as much as we do.”
The album features Detroit trio Dames Brown, Eunice Hood (Earthtone) and Lowell Pye, while Honey Dijon appears on Fake & Unholy. Feel It is the final piece of the pre-release jigsaw, with a deep beat and typically strong riff typical of Floorplan’s best – not to mention the uplifting, gospel qualities that sit at the centre of their music.
Luke Solomon, Classic’s founder, says “The combination of wonderful people and wonderful music is always the absolute top for me. Floorplan are an unstoppable force that stay in their lane and deliver dancefloor music in a way that no one else can, but beyond that they are special human beings and I am beyond grateful to be able to call them Classic family.”
I AM JORDAN is a celebration. I. JORDAN, real name Jordan Tek, has written this 10-track album as a dance music diary, a celebration of ‘collective ecstasy as a mode of self-discovery’.
It expresses “joy as a trans person, and trans joy generally, working with trans people, making all this fun music together”.
What’s the music like?
Without overusing the word, this is a joyful piece of work. I. JORDAN certainly knows how to get people up and dancing, and does so in a distinctive way that immediately lets the listener know who is involved. This is fundamentally house music, but making use of a number of other different styles, covering trance, a splash of hardcore and a touch of garage to make its point.
It’s also very cleverly crafted. The intro and outro work perfectly, raising the expectations (When Lights Flash) and bringing us back down to earth (Rapt Finis) In between, the highs include Real Hot n Naughty, featuring Felix Mufti, Casino High and The Countdown, each of them using the first principles of house music with nippy beats, clever riffs and clipped percussion. The rolling beats and bass of Butterlick, featuring Sister Zo, are also a treat.
Meanwhile the more introspective tracks, Reification and Pathetic Fallacy and People Want Nice Things, also work a treat, the latter setting flickers of treble against thick bass notes.
Does it all work?
It does – and with the guest artists, I AM JORDAN feels like a communal album, not just the product of one creative mind.
Is it recommended?
Enthusiastically. I. JORDAN have made a hugely uplifting dance music document, one that makes you smile pretty much as soon as you start listening. When it sets you down in a heap some 45 minutes later, there is the sort of satisfaction you get after a night on the dancefloor. Job done.
Beak> have delivered a surprise release of their first album in six years today. The aptly titled >>>> is released by Invada and Temporary Residence Ltd
The band – Geoff Barrow (of Portishead), Billy Fuller (Robert Plant’s Sensational Space Shifters) and Will Young (Moon Gangs), explained the reason for their surprise delivery.
“At its core we always wanted it to be head music (music for the ‘heads’, not headphone music), listened to as an album, not as individual songs. This is why we are releasing this album with no singles or promo tracks.”
They have also spoken about the genesis of >>>>. “The recording and writing initially began in a house called Pen Y Bryn in Talsarnau, Wales in the fall out from the weirdness of the Covid days. Remote and with only ourselves and the view of Portmeirion in the distance we got to work. With the opening track, “Strawberry Line” (our tribute to our dear furry friend Alfie Barrow, who appears on the album’s cover) as the metronomic guide for the album, we then resumed recording, as before, at Invada studios in Bristol, whilst still touring around Europe and North/South America.After playing hundreds of gigs and festivals over the years we felt that touring had started to influence our writing to the point we weren’t sure who we were anymore. So we decided to go back to the origins of where we were at on our first album. With zero expectations and just playing together in a room.“
Michael Collins (clarinet), BBC Concert Orchestra / Martin Yates
Carwithen Suffolk Suite (1964) Delius Idyll de Printemps, RTVI/5 (1889) Stanford Clarinet Concerto in A minor Op.80 (1902) Vaughan Williams Richard II: A Concert Fantasy (1944) [World Premiere Performance] Holst Symphony in F major H47 ‘The Cotswolds’ (1899-1900)
The Abbey, Dorchester-on-Thames Friday 25 May 2024
Reviewed by Richard Whitehouse
This latest edition of the English Music Festival, also the first to take place entirely within the spacious ambience of the Abbey at Dorchester-on-Thames, began with the customary concert from the BBC Concert Orchestra and Martin Yates. As conceived for amateur players, Suffolk Suite by Doreen Carwithen feels nothing if not resourceful – whether in the regal opulence of Prelude, evocative poise of Orford Ness then the alternately rumbustious or genial humour of Suffolk Morris; the martial tread of Framlingham Castle bringing about a resolute close.
Recent years have seen renewed interest in Delius’ early orchestral work, Idylle de Primtemps an appealing instance of the composer harnessing Nordic influences to the impressionist style then emerging in his adopted home of Paris – resulting in this short yet atmospheric tone poem.
It was enticingly given by the BBCCO, which then partnered Michael Collins (above) for a revival of the Clarinet Concerto by Stanford. As with numerous concertante works from the period, this is a three-movements-in-one design. The preludial Allegro introduces two main themes, their development continued (albeit understatedly) in a central Andante that unfolds with mounting eloquence, before the final Allegro brings a transformed reprise of the initial themes on route to its decisive ending. As with the First Cello Concerto of Saint-Saëns or the Violin Concerto of Glazunov, this is a piece the accessibility of whose idiom belies the ingenuity of its formal thinking or appeal of its ideas, and Collins (who evidently last played the piece four decades ago) brought subtlety and insight to music which ultimately delivers more than it promises.
These EMF opening concerts regularly feature first performances, and this evening brought that of the ‘Concert Fantasy’ as adapted by Yates (above) from Vaughan Williams’ incidental music to a production of Richard II for a BBC radio production and subsequently shelved. As might be expected, this abounds in allusions to earlier VW works from the period (notably Job and the Fifth Symphony), but the skill by which the composer reflects salient events in Shakespeare’s play and ease with which these fuse into a relatively continuous whole is its own justification.
It made sense to feature a major work by Holst in this, the 150th anniversary-year of his birth as well as the 90th of his death, with his Cotswolds Symphony certainly a welcome inclusion. If the weight and intensity of its second movement, Elegy (In Memoriam William Morris), rather dwarfs those other three, this is less an issue when the overall sequence was as astutely balanced as here. Yates secured a keen response in the opening Allegro, the personality of its ideas here outweighing any short-windedness, while there was no lack of verve and grace in the Scherzo or of animation in the Finale. That Elegy, though, is the real highpoint and the BBCCO did not disappoint with the sustained plangency of its playing. Numerous of Holst’s early pieces qualify as his primary achievement pre-Planets and this is arguably the greatest.
It duly rounded-off a fine opening to this year’s EMF. Maybe a future such occasion could see the revival of Stanford’s once popular Third ‘Irish’ Symphony or, even more pressingly, the first hearing for over a century of Holst’s doubtless unfairly derided suite Phantastes?
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