Category Archives: On record

Switched On – Ultramarine: Meditations (Real Soon)

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reviewed by Ben Hogwood

What’s the story?

Exactly as it appears. Meditations is a companion piece to last year’s long player Signals Into Space, which Arcana particularly enjoyed. Lasting not long over half an hour, it is what Ultramarine main man Paul Hammond describes as ‘two long-form episodic ambient pieces performed with a reduced palette of kalimba, treated guitar, wavetable & analogue synths and hardware effects; recorded in London with Andy Ramsay (of Stereolab).

Meditations includes field recordings made in Brazil, engineered and mastered as part of the main recording process.

What’s the music like?

Very easy on the ear, as you can imagine – and very like the cover in terms of musical colour.

Both Meditations are best experienced on headphones or on a widescreen system in a quiet environment. Speaking from experience, they have only limited success on public transport, as the large amount of background noise means the sounds occasionally drop out of earshot unless turned up loud. Of course this music would never really be intended for such listening.

Instead, find the right environment to tune in and you will be quickly transported into Ultramarine’s world. It is a warm, watery place, out of doors and with soft, consoling noises both close up and far away, depending on where you want to focus your listening.

Meditation I settles on a dreamy sequence of two chords that follow each other without having any obvious rules, before moving to a section where the kalimba can cast its watery magic. Gradually this builds its energy, the sounds rippling outwards very pleasantly over a long pedal note.

Meditation II feels slightly closer to people, with distant snatches of dialogue audible from the field recordings. There are more obviously electronic interpolations here too, with ambient noises and subtle oscillations to guitar and keyboard. Again there are no drum beats, and virtually no bass – and the calm sonic environment casts a lasting spell, ending on a consonant, rippling chord.

Does it all work?

Yes. Ultramarine have plenty of experience in the ambient music area, and are masters at slowing down the mind while still giving it enough beneficial stimulation. You will emerge from an encounter with these two pieces with a calmer outlook for sure.

Is it recommended?

Yes. The listening environment is crucial to the success of any encounter with Meditations, just as it would be for proper meditation – so bear that in mind. As far as cancelling out the fast pace of modern life goes, or enhancing an already relaxing day, you really can’t go wrong with this one.

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Switched On – Steve Spacek: Houses (Black Focus)

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reviewed by Ben Hogwood

What’s the story?

In which Steve Spacek goes back to basics. House music has always been at the heart of his musical thinking, but he feels it has been a long time since he indulged himself in a 4/4 beat. He does so through a long player made solely with iPhone and iPad apps, in Spacek’s words using technology to join the past with the present.

What’s the music like?

Spacek can never really sit still, which is a helpful quality to have in house music! Because of that he is always subtly creating and innovating.

In this case the past is still relatively recent – Detroit techno – but he adds his own welcome quirks to the mix, bringing in vocals to point towards soul and even experimental jazz. His own vocals are as distinctive as ever, while the resultant style is one that purposely includes UK rave music in a kind of transatlantic fusion.

As far as that translates to individual tracks, Tell Me is a really nice hybrid of deep house and UK garage, the latter diffused through its bassline. There are some nice bumpy beats and bass to African Dream which gets bigger perspective through faint keyboards. Song Life is really nice, deep and smooth with a good mix of polish and instinctive writing, which typifies the album. Love 4 Nano is great, with a cosmic synth and serrated bass sound twisting and turning among the chopped up and clipped vocals. The agile bassline of first track Rawl Aredo should not be forgotten either!

Does it all work?

Very much so. Spacek is ever inventive, and Houses works on a deeper level while providing energy through its beats. With four bonus tracks it clocks in at a generous 75 minutes, but thanks to Spacek’s subtly inventive ways through house music it never outstays its welcome.

Is it recommended?

Yes. If you’re a fan of Matthew Herbert’s house exploits you will find yourself close in style to Steve Spacek. Yet the application of his falsetto voice and the UK concessions bring individuality to Houses, in what turns out to be a really fine and invigorating album.

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Switched On – Ocoeur: Everything (n5MD)

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reviewed by Ben Hogwood

What’s the story?

Franck Zaragoza’s sixth album as Ocoeur comes with a plea. It is about getting people to restore their communication to a more direct level of humanity, rather than spending all the time gazing at devices, heads down.

With a wish that we engage with ‘Everything’ around us, Zaragoza gets to work on a broad, ambient canvas, producing an album of six rather beautiful tracks. The one-word titles speak of the simplicity he is searching for in his music.

What’s the music like?

Everything is a beauty. With it Zaragoza manages to suspend conventional feelings of time. Setting out its scope with the Jean Michel Jarre leanings of Ascent, laden with melancholy, it presents a simple, tonal musical language that evolves beautifully.

The title track introduces a kick drum as punctuation, though the appearance of any drums is relatively rare. Current has icy percussion around the edges as it unwraps a chilly, watery scene. Glow also uses shards of rhythm to accompany its luminous keyboards, unfolding at a natural pace.

It is however the closing pair of Dawn and Dusk that leave a lasting mark. At 20 minutes between them, they have an easy, natural progression across space and time in direct opposition to the busy digital environments around us. There is very little to anchor either production to the ground, but the floated motifs work really well.

Does it all work?

Yes. The softly reflective nature of this music makes it ideal for either end of the day, and Ocoeur’s slow yet measured progressions take place through sounds the listener can dive into.

Is it recommended?

Wholeheartedly. Its sentiment is spot on, but so is the feeling you get after 40 minutes spent in Ocoeur’s company. A cleansing and subtly uplifting experience.

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Everything is released on Friday February 28 on n5MD

Switched On – Kennebec: Departure (Night Time Stories)

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reviewed by Ben Hogwood

What’s the story?

The Olympic Peninsula in Washington state is a world away from downtown New York, but the two link Eric Phillips’ first album as Kennebec. Suffering from the sensory overload that many can experience in one of the world’s most vibrant cities, Phillips and his friends were looking for an escape, and their time in the Northwest gave them not just solace but musical impetus.

Phillips is now based in Portland Oregon, but Departure will serve as a musical diary of his Washington sojourn.

What’s the music like?

Departure is the result of two years’ musical endeavour, but rather than sounding like a long, laborious piece of work, it is notable for its freshness. The wide open textures speak of pure musical and mental freedom, while the rich selection of instruments and textures suggest a complete lack of restrictions. The musical language is open too – with electronica as a loose base, Phillips and friends explore Western musical forms but are open to inclusion and variety.

In the course of its 35 minutes Departures makes good and imaginative use of Mirabai Peart’s violin and viola, with a silvery tone the base for Kalahari and some nice, multiple string work on A Monsoon. Phillips also uses the ngoni and kalimba in the course of his musical explorations, as well as classical guitar – all of which he plays himself. They give tracks like Pipe Dreams and As We Grow Older a rarefied air.

Add to this some imaginative studio-based rhythms and you have a flexible style of music that rewards several approaches.

Does it all work?

Yes. Departure works from several musical angles. Electronica lovers will enjoy its fresh approach and freely cast rhythms, while traditional music fans will appreciate the sensitive blending of different styles. This is fusion of genres at its best, done in a way that needs no labelling at all.

Emotionally the music is very open, reflective on occasion but imbued with a fresh energy at others, as though the creator has emerged from a particularly good and invigorating night’s sleep. Spend more time with it and it will have a similar effect on you, the listener!

Is it recommended?

Very much so. Departure works at either end of the day and provides the opportunity of a clean and clear mindful state for its listeners. Think of it as a palette cleanser and a fresh approach, and you will take plenty from its charms.

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Switched On – Recondite: Dwell (Ghostly International)

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reviewed by Ben Hogwood

What’s the story?

Recondite has been criticised for sounding the same between albums – as recently as the last few days – but when your output is as beautifully set up as his it would seem churlish to change your style unless you feel a strong conviction to do it. Real name Lorenz Brunner, he also recognises that his devoted fanbase thrive on his ability to continue doing what he does so well – and Dwell is the result of those endeavours.

What’s the music like?

Introverted but rhythmic. Dwell stays on the darker side where harmonies and atmospherics are concerned but there is a strong element of comfort to its vibes, a nice balance of warmth and cold.

Nobilia and Black Letter are two of the best tracks, both with starry flickers. In spite of the delicate drum tracks there is still a good deal of movement too. Mirror Games explores some rather lovely effects that are the sonic equivalent of dancing light patterns, refracting out over a bigger perspective. Moon Pearl is dubby, with light and shade, while Interlude 2 and Surface also explore a slower tempo to good effect. Wire Threat is extremely deep, the muffled kick drum and held bass a bed for slowly shifting, twinkling keyboards to move over.

Does it all work?

Yes. Brunner’s music reveals more than you think it might on first listen, describing a picture the listener can create for themselves. It is darkly shaded and nocturnal, but is ultimately a strong companion to have around. Turn the music up and it works well in a small club space too.

Is it recommended?

Yes. Our perception might be that Recondite may not be challenging himself overly, but it takes great craft and invention to keep interesting in electronic music. Dwell is full of good things, and provides proof that Brunner is still producing some beautiful music. Those who already love his output will see no reason to hesitate here.

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