Category Archives: On record

On Record – Havergal Brian: Complete Choral Songs, Volume Two (Toccata Classics)

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aJoyful Company of Singers / Peter Broadbent; bFinchley Children’s Music Group / Grace Rossiter with cGavin Roberts, dJohn Evanson (pianos)

Havergal Brian
Stars of the Summer Night (1905)a
Tell me, thou soul of her I love (1906)a
Rondel: In a Fairy Boat (1906)a
Fairies’ Song (1908)a
Daybreak (1910)a
A Child’s Prayer (1914)bd
If I had but two little wings (1914)bd
Little White Lily (1914)bd
Pastoral: The Shepherd (1914)a
Infant Joy (1914)a
The Lamb (1914)ac
Laughing Song (1914)ac
The Lost Doll (1914)bd
The Dream (1914)ac
The Echoing Green (1914)ac
The Moon (1914)bd
The River (1914)bd
The Mountain and the Squirrel (1914)bd
What does little birdie say? (1914)bd
He was a rat (1914)a
The Fairy Palace (1915)ac
The Phantom Wooer (1918)a
Tell me, where is fancy bred (1919)a
It was a lover and his lass (1919)a
Absence (1919)ac
Pack clouds away (1919)ac
Spring, the sweet Spring (1919)ac
Introit (1924)a
Vital Spark of Heavenly Flame (1924)a
Shall I then be spared? (1924)a
O Happiness, celestial fair (1924)a
Sweet Solitude (1924)a

Toccata Classics TOCC0680 [66’43’’]
English texts included
Producer Michael Ponder
Engineer Adaq Khan
Recorded a11 & 12 December 2021, c12 &13 March 2022 at St Jude on the Hill, Hampstead Garden Suburb, London; b26 November 2022 at St Silas, Kentish Town, London

Reviewed by Richard Whitehouse

What’s the story?

Toccata Classics rounds off coverage of Havergal Brian’s choral songs (aka part-songs) with a second volume that, as with its predecessor [TOCC0395], underlines the composer’s sheer versatility in a genre which occupied his thinking through almost two decades of his output.

What’s the music like?

It was with choral songs that Brian first attracted attention, settings of Henry Longfellow and James Thomson [tracks 1-3] testifying to his assurance in SATB or double-choir media when combining harmonic richness with a melodic eloquence and a rhythmic subtlety equalled by few of his contemporaries. His settings of fairy-themed verse by Bernard Weller and Gerald Cumberland [4/12], never coy in their whimsicality, show comparable ease writing for upper voices with a streamlined texture that prefigures his choral songs from the following decade.

Those months either side of the beginning of the First World War were to bring by far Brian’s largest number of choral songs – ostensibly as his means of accruing income while financially adrift in London, though the technical finesse of almost all those that survive are indicative of stylistic changes in his idiom also taking place. Much the most frequently encountered poet is William Blake [15-18, 22/23], with several settings from Songs of Innocence and Experience no less insightful or idiomatic than more familiar ones by later composers. By the same token, settings of Shakespeare and Thomas Nashe [10/11, 20] provide a distinctive take on often-set texts, whereas unison settings of Charles Kingsley, Ralph Emerson or Alfred, Lord Tennyson [21, 26/27] have a disarming if never ‘knowing’ naivety that transcends their respective texts.

Two enchanting Cumberland settings were most likely derived from an operetta for children duly abandoned, while those from such diverse authors as Matilda Betham-Edwards, Samuel Coleridge, George MacDonald, Robert Burns or Thomas Heywood [7-9, 13/14] between them tread a convincing path in terms of their suitability for amateur or professional singers. Most fascinating is a group composed during that interim between the first and second parts of the Gothic Symphony: settings of Hannah More [28-30] of a canonic and textural intricacy soon heard on a far more expansive scale, as was the fervency of totemic lines by Alexander Pope [6] and methodical treatment accorded the ‘Amen’ [5]. Settings of Thomas Lovell Beddoes [31] or Laura Richards [32], respectively lurid and sardonic, vividly round off this selection.

Does it all work?

It does, not least with the responsiveness to each song of the two choirs – Joyful Company of Singers resolutely unfazed by Brian’s demands in the ‘adult’ songs, as is Finchley Children’s Music Group in those by no means child-like songs for younger voices. Peter Broadbent and Grace Rossiter have marshalled their forces ably, while Gavin Roberts and John Evanson are not found wanting in piano parts which are often much more than accompaniments. Full texts are included, while John Pickard’s booklet note sets forth a wealth of pertinent observations.

Is it recommended?

It is, notwithstanding that the first volume is the more recommendable to those having yet to encounter this significant aspect of Brian’s output. Those who have done so should certainly acquire its follow-up album (which was recorded at the same sessions) without further delay.

Listen / Buy

You can hear excerpts from the album and explore purchase options at the Toccata Classics website. Click on the artist names for more on Grace Rossiter, Peter Broadbent, Finchley Children’s Music Group and Joyful Company of Singers. Meanwhile click on the name for the Havergal Brian Society

Published post no.3,030 – Sunday 27 September January 2026

On Record: Sondre Lerche – Acrobats (PLZ / Virgin)

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Reviewed by Ben Hogwood

What’s the story?

This new album from Norwegian singer-songwriter Sondre Lerche is his first in four years. The record explores a dissonance he has identified between the “increasingly dystopian world we live in and finding beauty and peace in your private life”, where “falling in love feels more and more like an act of defiance”.

Acrobats was recorded across no fewer than nine studios, Lerche’s eleventh album completed with long time partners and producers Matias Téllez and Kato Ådland, and Vetle Junker, Alexander von Mehren and Jørgen Trœen. There are orchestral arrangements by Sean O’Hagan of The High Llamas, with a substantial body of musicians from the Stockholm Studio Orchestra, Norwegian Radio Orchestra and sundry jazz and classical artists.

What’s the music like?

At times, epic – especially in the album’s core, where the songs Love Is All and Follow The River carry all before them. Lerche wears his heart on his sleeve in songs of unabashed romanticism, which works especially well when combined with his penchant for lyrical directness.

The music is pleasingly off-centre, with the urgent How Much Of This Was Planned also showing a carefree side. The strings of Little Kids curl around Lerche’s observations that “there’s cracks in everything”, while his playful side comes out best in Drive Me Away From You.

Love Is All is one for the romantics, beautifully observed and delivered, with an exquisite dialogue between Lerche and the clarinet of Solveig Wang. Meanwhile the chorus of Follow The River – inspired by an encounter with Mahler’s Resurrection symphony – is warm hearted and given with a ‘glass half full’ energy.

Does it all work?

It does, even if the songs sometimes have a lopsided structure. Lerche sings from the heart, and the arrangements are beauties.

Is it recommended?

It is. Lerche does not enjoy the same profile in the UK he perhaps did around 15 years ago, but this album shows his songwriting – and vocal delivery – are better and more meaningful than ever. In many ways he is the Nordic answer to Rufus Wainwright.

For fans of…Rufus Wainwright, Ed Harcourt, The Divine Comedy, Kings Of Convenience, Midlake

Listen / Buy

Published post no.3,022 – Sunday 20 September 2026

Switched On: Paul Cut – Circle People (Automatic Writing)

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Reviewed by Ben Hogwood

What’s the story?

Paul Cut has illustrious connections within the world of techno. A keyboard player with Larry Heard, he has also worked with Ron Trent and Chez Damier.

Here Cut, real name Paul Culliver, goes solo for the first time in what appears to be six years, on an eight-track LP of original productions.

What’s the music like?

Cut’s experience of what makes people dance shines through on each track. It is pretty effortless music making, the album unfolding like a DJ set would, building on minimal material for maximum effect.

Shady Nasty is classic Detroit techno, with a simple offbeat riff driving a track full of incident. Next one even better, before On The Rocks cuts up a sample from the Sensi-tize classic Burn Baby Burn. Meanwhile She Comes Around is an excellent, bassy groover.

Does it all work?

It does – very nicely, too.

Is it recommended?

With some ease. Paul Cut’s expertise is clear on an album that frequently presses all the right buttons.

For fans of…Larry Heard, Ron Trent, Kenny Larkin, Chez Damier, Charles Webster

Listen / Buy

tbc

Published post no.3,013 – Thursday 10 September 2026

Switched On: Christian Prommer: Rhythmique Nocturne (Compost Records)

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Reviewed by Ben Hogwood

What’s the story?

Rhythmique Nocturne is the first solo album from Christian Prommer in over ten years, picking up from the successes of Drumlesson Zwei and Übermood, complementing his work as part of Trüby Trio, Fauna Flash, Drumlesson and Voom:Voom.

Prommer, in the words of his Bandcamp, “distils ten years of Berlin into a twilight drift between order and abandon. Daytime studio sketches are pulled apart at night, reshaped by shifting perspectives that swing between jazz harmony, textural experimentation, and the heavy gravity of techno basslines and analog drums. Intimately close-mic’d piano, drums, percussion, cello, and strings are constantly recontextualized—dropped into new rooms, resonances, and imagined spaces—so their meaning keeps mutating. Room noise, human breath, and accidental sounds are folded into the pulse, turning spill and imperfection into rhythm. Even a piano lid thudding shut on Dark Matter is claimed as part of the beat, underscoring an album that embraces freedom, spontaneity, and the beautiful lack of accountability that defines this city at night.”

What’s the music like?

The extended quote shows everything that this album is about, rhythm being the prime focus but with instrumental colour always carefully considered and imaginatively sourced.

What strikes the listener is the forward momentum Prommer enjoys on each track, the fusion between jazz and dance that working extremely effectively, the grooves driven by the lower end of the piano working a treat.

The likes of Algorhythmic and Dark Matter reach thrilling highs, powered by sharp piano stabs and quick beats, their lean and wiry kinetic energy getting the foot tapping straight away. Black Mamba adds deeper feeling, a darkly glinting track that builds effectively, while Bosss lets Kelvin Sholar’s piano run free. Tryin’ Times harks back to the Truby Trio, sashaying into the room in the company of Justine Hoerwarth, whose vocal timing is ideal.

Providing contrast is the deep Struck, vocalist Leona Berlin multitracked on a smoky slower jam, and Night Society, whose orchestral palette grows in poise and power.

Does it all work?

It does – and with atmospheric slower tracks complementing quickfire missives, the contrast is ideal.

Is it recommended?

Yes. An album that fizzes and pops in all the right places!

For fans of…St. Germain, Brandt Brauer Frick, Truby Trio, Jazzanova, Kyoto Jazz Massive

Listen / Buy

Published post no.3,006 – Thursday 3 September 2026

Switched On: Abul Mogard & Rafael Anton Irisarri – Where Light Pauses in the Silence of the Sun (Black Knoll Editions)

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Reviewed by Ben Hogwood

What’s the story?

This is the second collaboration between Abul Mogard and Rafael Anton Irisarri, created during a three-day residency at Berlin’s Morphine Raum. The duo recorded their performances live while also reshaping their work, using rotary speakers, modular synthesizers and bowed guitar. All were captured through a vintage (1970s!) mixing console and microphones placed around the room.

As the pair returned to their home studios, Mogard manipulated the existing material through his studio in Rome, while Irisarri added guitar textures and treatments in New York. Then, passages recorded by cellist Martina Bertoni and violinist Andrea Burelli in Berlin added new layers to their work, after which Mogard reassembled everything into the final versions.

What’s the music like?

Like a slow-moving swan, this album proceeds serenely with no hint of the process going on underneath. Heard on headphones, there are moments of heart-shifting beauty as the slow moving but firmly set musical processes make their mark, and the harmonies make telling turns when led by the bassy drones.

This is the case for In the Eastern Wild, a descriptive number that grows in stature to become an awesome presence, a wall of sound complemented by Over The Domes, held exquisitely in suspension.

The centrepiece of the album is A Blue Descent, where immersive ambience takes on new levels with the help of Bertoni’s long-breathed cello phrases, brooding yet uplifting, and In A Quiet Radiance, which goes through a similarly pronounced crescendo. Here Burelli’s violin sits above with a wordless vocal, all beautifully judged and woven together.

The comedown from this is the huge space found by Of Blessed Ages, then the wall of outdoor white noise that is Among Shadows, with a drone you could happily dive into.

Does it all work?

Yes. The pair work as one throughout, the music unfolding with a natural beauty and stature rare in ambient music.

Is it recommended?

With great enthusiasm. This is music that can calm the fevered brow, but also warm the cold heart, for there are great emotional depths found through the smallest movement. A deeply impressive achievement.

Listen / Buy

Published post no.3,005 – Wednesday 2 September 2026