Category Archives: On record

On Record – One True Pairing – Endless Rain (Domino)

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by Ben Hogwood

What’s the story?

One True Pairing is the moniker for Tom Fleming, once of Wild Beasts – and is a vehicle that he has used for frank and honest commentary on his life.

In some commendably honest interviews, Fleming has spoken of his mental health difficulties, exacerbated by addiction, but has explained too how music has helped bring him round from them to a much safer space.

Having given notice of his solo potential with his self-titled debut record in 2019, Fleming returns with a host of instrumentalists in tow, but with his guitar kept closest to him.

What’s the music like?

Fleming is a confidential songwriter, letting the listener in to all corners of his world. This is most apparent on songs like Doubt, where he honestly offers up the lyric “I will always do what it takes, but there’s a doubt I can’t shake”. I Don’t Want To Do This Anymore goes further, regretting that “again, we’re lying in a puddle that we made”.

That he makes these brave asides is value enough, but when set against the beautiful instrumentation, chosen with regular collaborator Josh Taylor-Moon and producer John ‘Spud’ Murphy, the results are compelling. Prince Of Darkness is like a coiled spring, Fleming’s urgent vocal offering reassurance from the calm bed of guitars around it, before a sweeping harp takes over. Endless Rain is on firmer ground, and Midlife Crisis finds impressive resolve in the face of its doubts.

Throughout, Fleming’s voice is as personal as could be, its husk burning a path into the listener’s soul. At times this can lead to uncomfortable truths – A Landlord’s Death especially – while elsewhere it feels like a consoling hug. Ruthless Streak is darkly coloured but its string harmonics take it through a fever dream.

Perhaps most affecting of all is Frozen Food Centre, a beautiful epic where swirling guitars back a song about childhood, with the reassurance of home but the threat of spectres lurking in the aisles of the supermarket.

Does it all work?

It does. There is some remarkable music here, written out of necessity – and it makes a powerful impact.

Is it recommended?

Very much so. Those remembering Wild Beasts would be well advised to add One True Pairing to their collection if they haven’t already, as would those whose heads might be turned by songs with a folky edge. On this record Tom Fleming is in the same space as the listener, pouring out heart and soul, and his music resonates deeply with both.

For fans of… Wild Beasts, Nick Drake, Elliott Smith, John Martyn

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Published post no.2,363 – Friday 15 November 2024

On Record – Bruce Brubaker – Eno Piano 2.0 (InFiné)

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by Ben Hogwood

What’s the story?

Building on the success of his first album of Brian Eno reinterpretations, pianist Bruce Brubaker goes deeper into the ambient master’s output.

In his explorations, Brubaker continues to use a Steinway concert grand piano with electromagnetic bows that help him create sustained drone textures.

Here he takes two sections from the 1978 ambient classic Music For Airports album alongside three others, using advanced IRCAM spatialization tools to create an “immersive acoustic experience, turning the piano into a supernatural synthesizer.”

What’s the music like?

The Music For Airports excerpts, not surprisingly, are incredibly calming – and beautifully played. The second version of 1/2 uses the electromagnetic bows to create a sound almost like the clarinet in timbre. Brubaker judges the critical elements like attack and sustain just right, a faithful recreation of the original Eno work but one that gives him plenty of room and space around in the acoustic.

The slow tracks work beautifully, especially Failing Light from Eno’s Ambient 2: The Plateaux Of Mirror, the collaboration with Harold Budd, which is lovingly shaded here. The big surprise, however, is The Big Ship, where he recreates everything by hand, including the shift of rhythmic emphasis that Eno originally performed with an organ drum machine. Here it is commanding and delivered with impressive poise.

Does it all work?

Very much so. Brubaker’s eye for detail and virtuosity work hand in hand.

Is it recommended?

Enthusiastically. Eno Piano 2.0 is an obvious complement to the first instalment but shows Eno’s music in a new and enchanting light. Ambient music has lasted a lot longer than we dared imagine, and reinterpretations like this will only prolong its appeal further.

For fans of… Brian Eno, Harold Budd, Philip Glass, Michael Nyman

You can read an extensive interview with Bruce on Arcana, where he talks about interpreting Eno’s work for piano.

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Published post no.2,349 – Friday 1 November 2024

On Record – Hayden Thorpe – Ness (Domino)

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by Ben Hogwood

What’s the story?

For his third solo album, Hayden Thorpe has relocated. Until now the former Wild Beasts singer has been closely linked with his home town of Kendal, but, having fallen under the spell of Robert Macfarlane’s book Ness, he felt compelled to write an album about it.

Ness is effectively a portrait of Orford Ness, just down the Suffolk coast from Aldeburgh. A deeply mysterious place, it is a shingle spit used by the Ministry of Defence for weapons development during both World Wars and the Cold War. As the work died out so the place has returned to the wild, and was acquired by the National Trust to aid that very purpose.

It remains a deeply mysterious place, and Macfarlane’s book, aided by the illustrations of Stanley Donwood, brought it to eerie life in print form. Thorpe aims to do the same in music, using a process of redaction to bring Macfarlane’s text to life.

What’s the music like?

In a word, striking.

Thorpe’s voice continues to be the main instrument in his music, a versatile tenor capable of a full-bodied falsetto but also with a soft lower range. Yet here it is joined by an imaginative body of instruments led by Jack McNeill’s clarinet, with which the voice often dovetails, and beautiful choral arrangements from Kerry Andrew. Added to these are instruments fashioned from Orford Ness itself, including the ominous sound of an orchestral bass drum, whose tread brings dread to The Green Chapel.

Robert Macfarlane’s words are gripping. “Listen. Listen now. Listen to Ness!”, goes the text at the start of They, one of several gender-themed songs at the album’s heart, along with She and He. All three are perfectly suited to Thorpe’s voice, which effectively removes the separation between the human and natural worlds, while channelling the half light so effectively found by bands such as Talk Talk.

Does it all work?

It does – and rewards greater time spent with the music, as every contour of the area is brought to life.

Is it recommended?

It is. Hayden Thorpe’s portrait of Ness is a fascinating and compelling experience, one to hear in the context of Benjamin Britten’s music that profiles Aldeburgh in such a vivid way. Thorpe brings every fascinating and ghastly element of Ness to the table, in music of great presence and character.

For fans of… Talk Talk, Brian Eno, Erland Cooper, Benjamin Britten

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Published post no.2,343 – Saturday 26 October 2024

On Record – Various Artists: Shapes 25 (Tru Thoughts)

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by Ben Hogwood

What’s the story?

Since 1999, Brighton’s Tru Thoughts label have produced an annual Shapes compilation, showcasing the best of the label while offering rarities and remixes. As a way in to their output it has been consistently rewarding, while fans have the chance to expand their collections with the new music on offer.

The 25th instalment from label head Robert Luis stays true to the program, split into two parts. The first offers a taste of soul, downtempo and jazz releases, while part two heads to the club for some dancefloor action.

What’s the music like?

Typically varied and vibrant.

It feels right for Luis to start with Bonobo, the zither adding colour to Terrapin – taken from his debut album Animal Magic that the label released in 2001. Quantic is another essential inclusion, and Look Around The Corner has the irresistible combination his production quality and Alice Russell’s wonderful vocals. Nostalgia 77’s Cheney Lane is a highlight, as are The Bamboos, Kylie Auldist a guest on their breezy I Don’t Wanna Stop. Meanwhile Steven Bamidele’s enchanting Kaleidoscope is complemented by a smoky groove from the Hidden Orchestra’s Spoken.

Two extended mixes in the centre of the compilation are both winners – Obas Nenor’s loping dub remix of Sefi Zisling’s The Sky Sings, and Hot 8 Brass Band’s Sexual Healing cover, a triumph that you surely will have heard by now.

Quantic whips up another treat with Furthest Moment, before Omar & Zed Bias’s irresistible Dancing, featuring Fox. Tiawa’s Soldiers is a lovely bit of funk, while hazy sunshine pokes through in STR4TA’s warm remix of Anushka’s Bad Weather. Magic Drum Orchestra bring the carnival with Ragga Samba, Ebi Soda goes left field with Yoshi Orange, then the king of dubstep Zed Bias saves one of the best cuts until last with his remix of Sandunes’ Follow Me.

Does it all work?

It does – Shapes 25 catches the essence of Tru Thoughts, a huge range of colourful music.

Is it recommended?

Very much so. If by some freak of nature you’ve not heard the music of Tru Thoughts yet, this is the ideal place to start. Be prepared for a long journey of wonderful discoveries!

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Published post no.2,335 – Friday 18 October 2024

On Record – Neil Cowley Trio – Entity (Hide Inside Records)

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by Ben Hogwood

What’s the story?

After seven years of solo work, Neil Cowley has reunited with his trio. The motivation was a need for ‘connection’ in the digital age, for while Cowley has enjoyed a good deal of success in his solo ventures, collaborating with the likes of Ben Lukas Boysen, Maribou State and Rival Consoles, he missed the personal and musical synchronization with his partners, bassist Rex Horan and drummer Evan Jenkins.

Their live reunion in June was met with great acclaim – but Entity is the result of a week-long studio reunion. Cowley prepared for this with pre recorded synth and drum parts to play along too, but those were soon jettisoned, in the name of what he describes as ‘some kind of human push back’.

The week-long session took place at Real World, with production from Ethan Johns.

What’s the music like?

Instinctive and vibrant, just as Cowley would surely have wanted. The musicianship here is remarkable, but all the more satisfying for the chemistry between the members of the trio, who know when to press forward musically but also – crucially – when to pull back and allow room for development.

Cowley’s flowing piano in V&A is particularly beautiful, as it is on Shoot – where Horan and Jenkins add especially persuasive rhythms. Marble begins in serene fashion, an example of how Cowley can bring stately phrasing to his piano work – while at other times it becomes humourous and mischievous.

Father Daughter has a distinctive melody that sticks, while Brood and Photo Box are more conversational, the latter on a more intimate scale. Meanwhile the playful Adam Alphabet, with a lithe rhythm section, is irresistible.

Does it all work?

It does – and joyously so. Sometimes reducing the time you have in the studio brings positive results, and that is definitely the case here – for the innate understanding between Cowley, Horan and Jenkins is clear.

Is it recommended?

It is – no need to hesitate if you have bought the trio’s previous albums, and equally a great place to start if you’re new or know Cowley through his solo work. A timely reminder that while technology is great for music, you can’t beat human interaction.

For fans of… GoGo Penguin, Portico Quartet, Tord Gustavsen Trio

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Published post no.2,322 – Saturday 5 October 2024