Yesterday we heard of the sad news of the death of Jim Parker – who, as this wonderful Guardianobituary illustrates, was a composer of rare talent for the small screen.
One of Parker’s calling cards was the music to the much loved British TV mainstay Midsomer Murders. If you’ve watched any of the episodes you will be aware of the musical attention to detail in the scene setting, Parker providing a vivid guide to the action taking place on screen, and hamming up the drama as and when needed.
That’s before we get to the theme, of course, which has become one of the most distinctive on TV with its gurgling clarinet and spooky mellotron.
As OGRE Sound, RobinOgden 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 ADevilWithHisHorns and Wilder, while by contrast some of the shorter numbers prove to be disconcerting interludes. IntensityIsTheLoveOfTheBeholder 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.
Jessy Lanza’s fourth solo album for Hyperdub was originally intended for other people to sing. However during the writing process, the Canadian singer realised the songs were too close to home for anyone else to sing, the lyrics telling of her own life experience.
The seeds for Love Hallucination sown, she set about collaborating with like minded producers, delivering an album commonly agreed to be her most personal work yet.
What’s the music like?
This album hits on a winning combination of club-savvy productions and personal lyrics, giving Jessy Lanza several ways in which she can move her listeners.
Fragility and anxiety are freely discussed and explored – but so are sexual likes and dislikes, relationship dos and don’ts, dreams and fears. All are freely expressed over beats and trim productions sculpted with the help of well-chosen producers such as Pearson Sound, Tensnake and Jacques Greene.
The voice matches the beats beautifully – in Greene’s case setting a nocturnal scene for Midnight Ontario, or with Tensnake delivering disco goodness for Limbo. By contrast the niggly, angst-ridden tales like Big Pink Rose or Don’t Cry On My Pillow get agitated beats to match.
Yet good as the beats are, the voice is the star – and Lanza’s cool delivery is distinctive but also an instrument that communicates her thoughts and feelings with unerring clarity.
Does it all work?
It does – this music is cool to the touch but full of expression. The urban soundscapes work a treat too.
Is it recommended?
It is. An album that mixes club sensibilities and tales that tell of deeply felt, first hand experience.
A generous 4-CD compilation from Cherry Red, billed as a celebration of the Madchester / baggy scene and the Indie-dance crossover.
If you were anywhere near Radio 1 or even Radio 5 in the early 1990s you will have known about the influence this scene had on the singles charts, but Cherry Red are looking at it from the perspective of the clubs. With that in mind the tracks here are presented unmixed and mostly in 12″ form.
What’sthemusiclike?
This is a buoyant collection to raise many smiles among listeners who were there at the time…but will surely serve as the ideal way in to the curious first-timers.
The big hits take care of themselves – Happy Mondays‘ StepOn, TheCharlatans‘ IndianRope and Stone Roses‘ FoolsGold are pure Manchester gold. That’s before you consider InspiralCarpets, James (via the mixing desk of Andrew Weatherall) and Primal Scream (via Terry Farley)
That the scene crossed over to Ibiza is clear from the inclusion of 808 State‘s PacificState and TheBeloved’sThe Sun Rising. Shoegaze classics abound too, from Chapterhouse and Spacemen3 – or leaner, more direct efforts from the likes of Carter USM and PopWillEatItself.
While it’s great to have the well known classics, the bubbles from beneath the surface are even more valuable. Lesser known names such as Paris Angels, TheWendys, SinisterGroove and NewFastAutomaticDaffodils prove their worth too.
Does it all work?
It does – and the breadth of styles means that this is a collection to dip into over and over again. It also has the added value of putting overplayed radio hits back in their best context. TheMockTurtles‘ CanYouDigIt?is a prime example!
Is it recommended?
Wholeheartedly. As a snapshot of a euphoric time in British music history, ComeTogether works an absolute treat.
The latest addition to the English Symphony Orchestra library of online music is the first performance of Philip Sawyers‘ major choral work, Mayflower on the Sea of Time.
With its ‘luminous and ecstatic choruses’ picked out by Richard Whitehouse in his review of the initial concert, this is an affirmative and major piece by one of the finest contemporary English composers.
Soprano April Fredrick and baritone Thomas Humphreys are joined by the ESOChorus and English Symphony Orchestra in the premiere from Worcester Cathedral, given on 17 June this year.
Arcana.fm 