Category Archives: On record

On Record: Moritz von Oswald – Silencio (Tresor)

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by Ben Hogwood

What’s the story?

For his latest musical project, Moritz von Oswald is studying the voice. He is doing so through two contrasting generators of sound, the human vocal cord and the synthesizer – and is stripping the music right back to basics.

With vocal works from composers such as Ligeti, Varèse and Xenakis in mind, he takes a very minimal approach, stripping the textures back to the bare minimum. Where electronics are involved, he has used specific models, listing the EMS VCS3 & AKS, Prophet V, Oberheim 4-Voice and the Moog Model 15. Where vocals are involved, he has also used specific models – 16 of them in fact, the singers of Vocalconsort Berlin, recorded in Ölberg church.

In the words of the accompanying text for the album, “the recordings of the choral versions were then incorporated into the synthesized parts of the album and brought into a new electronic context; in Silencio, the focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them.”

What’s the music like?

In a word, striking. This is very much a case of less is more in a musical sense, and although the album’s concept suggests quite a mechanical and unfeeling approach, the results could not be more different.

What von Oswald has achieved here is remarkable, a set of music that moves between extremely restful, consonant drones and much more dissonant, darker passages. Here he is helped beyond measure by the Vocalconsort Berlin, whose virtuosity was clearly key in getting the required results. The synthesizers, of course, are capable of hitting every note required of them, so it should not be taken for granted that humans can do the same. When they do, and the vocal capabilities are stretched by high, low or extremely sustained notes, that extra effort comes across here in an emotional sense, depicting stress and disquiet.

The long, sustained nature of much of the writing means this is an album in which the listener can fully immerse themselves, and we move between sections easily and instinctively. Silencio may be quite a long album, but it doesn’t feel that way with music of this intensity.

Does it all work?

It does – provided the listener can invest a number of repeat listens. Then the enormity of von Oswald’s achievement can be fully grasped. A word, too, for the outstanding members of Vocalconsort Berlin, whose virtuosity knows no bounds.

Is it recommended?

It is, enthusiastically, providing a reminder that von Oswald is a composer of depth, imagination and craft. Silencio is a remarkable and intensely rewarding achievement.

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Published post no.2,028 – Sunday 3 December 2023

Switched On: The Black Dog – Music For Moore Street Substation (Dust Science Recordings)

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by Ben Hogwood

What’s the story?

There is a lot of multiform art coming off The Black Dog’s production line at the moment, their Bandcamp page regularly refreshed with new ventures and creative projects. The latest is a limited CD and digital album release of the music accompanying their exhibition My Brutal Life.

For the showing they used the top floor of Moore Street Substation, a space ‘rarely open to the public and often shrouded in mystery’. Their soundcheck revealed the space had a natural reverberation of over 9.7 seconds, meaning the original soundtrack designed for My Brutal Life would not work in such a wide open setting. Therefore they set about a set comprising remixes of the original material and new pieces, ensuring viewers were comfortable as they moved around the space.

What’s the music like?

The reverberation problem has proved a benefit for listeners, for although the music in this sequence is simple in make-up it provides a very effective ambient set.

There is a thick ambience throughout, The Black Dog immediately reflecting the space in their music, either through slow and majestic chord sequences (The Light That Never Goes Out), twinkling motifs that pierce the gloom (Kirk Test Tones Sequence, Béton-Brut (Deconstructed), Hey Serry, The Jefferson Sheard Choir) or drone-based pieces with indistinct voices (Theme Of The Substation, The Mundane)

Elsewhere there are soft, reflective moments such as Busbar Connection and Villa Göth Calling, where the outlook is sombre and grey – but still with an appealing ambience.

Does it all work?

It does exactly what The Black Dog wanted, giving viewers space and perspective as they peruse the art.

Is it recommended?

It is – a complement to the original soundtrack and the visuals. They may be releasing a lot of music at the moment, but The Black Dog certainly aren’t stinting on quality.

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Switched On: All Is Well – A Break In Time (Compost / Drumpoet Community)

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by Ben Hogwood

What’s the story?

Fred Everything (real name Frédéric Blais) started A Break In Time as an exercise in calming meditation during lockdown – its function to do as the title suggests, a break from the stress.

It wasn’t long before he realised that the music was taking form and had album-making potential so, donning the All Is Well moniker, he worked on realising the project as a homage to ambient music in general, looking back to early works from Carl Craig and Black Dog, as well as the legendary Warp compilation Artificial Intelligence.

What’s the music like?

A Break In Time is certainly ambient, but occasionally it brings to the surface an underlying tension explained by when it was written. Blais writes instinctively well in this form, the tracks are really well structured, and the voicing is such that the listener can choose whether to take the music from background to foreground. It is equally effective in either form.

Day One establishes calming, warm textures, but the music takes on more movement with tracks like Forever And A Year, where active percussion is paired with wavy keyboard lines, creating a curious tension. Risqué has a rising motif that can prove disorientating too, like a distant alarm – but by contrast a track like At Well matches synth riffs with washes of colour.

Does it all work?

It does. Blais has achieved a really satisfying blend where musical instinct and a keen sense of structure go hand in hand.

Is it recommended?

It is – this is an album with staying power, and the ability to create its own unique atmosphere. Another fine piece of work from Fred Everything.

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On Record: Vince Clarke – Songs Of Silence (Mute)

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by Ben Hogwood

What’s the story?

After such a long and prestigious career in music, it feels odd to be talking about Vince Clarke’s first solo album. And yet here it is, the first time he has stepped out in a lone capacity. Having been a key founder member of Yazoo, Depeche Mode and Erasure, where he still resides, you might think this music had been in the offing for a long time – but in truth it was lockdown that inspired Songs Of Silence.

Alone with his cat and the modular synthesizer format Eurorack, Clarke set to work, enjoying the instrumental restrictions and also thriving on a technique which sees him base each of the ten tracks on a drone.

What’s the music like?

Vince Clarke’s music is of very strong presence and character. It is also deeply serious, but with a great deal of light and shade that gives these silent songs a great deal of expression.

Clarke uses drones as his musical currency, rather than intricate synth lines. Catchy chorus hooks are less forthcoming, but that is not a problem. While each of the ten tracks is based on a single note, they provide a strong base over which the treble melodies and textures can freely operate. There is some very descriptive music here too, typified by Cathedral and Red Planet.

At times the music is minimal, stark even – and when this happens emotions run high, the music baring its soul. Reed Hays’ cello cuts to the quick on Lamentations Of Jeremiah, a musical ritual with an intensely emotional melodic line, speaking of trial and hardship. Caroline Joy brings her vocals to the vocalise Passage, releasing energy generated by the preceding White Rabbit.

Textures are often stark, rising ahead like hills in the road or the outline of craggy mountains. And yet there is solace too, the drones offering comfort from the intensity above.

The parallels with the Covid outbreak are notable, Clarke exploring music of resentment and anger, but ultimately the music finds a troubled peace. His electronic pop prowess is temporarily set aside, but he is equally at home in slower music.

Does it all work?

It does. Clarke achieves a sense of timelessness, not just through the drones but also the melodic material that unfolds with grace and stature.

Is it recommended?

Yes, enthusiastically. It is typical of Vince Clarke that he should deliver an album of such quality, but also that it should be consistently rewarding.

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Published post no.2,020 – Saturday 25 November 2023

On Record: Sandunes – The Ground Beneath Her Feet (Tru Thoughts)

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by Ben Hogwood

What’s the story?

Sandunes’ third album is her first since moving to Tru Thoughts. On it she focuses on connecting the earth and the body, focusing on ‘humanity’s collective spirit, authentic expression’.

With the freedom to move between genres, the artist – real name Sanaya Ardeshir – gathers quite a guest list and a small army of instrumental collaborators, using stringed instruments but also a number of more exotic contributions from quena and mandolin.

What’s the music like?

The blueprint behind the album suggests a fresh approach, and that’s exactly what we get. This is a joyously creative piece of work, the rule book put to one side as Sandunes makes her music with a natural flair.

Pelican Dance is a good example of how she harnesses influences past and present, using a harpsichord but also marimba, creating a colourful backdrop that ebbs and flows very naturally. It segues into Masti, where scattered beats form the base of an evocative scene.

The vocal guests are well chosen and structured, the standout being KAVYA, who brings her strong personality and penetrating vocals to Follow Me and Time For This. Ramya Pothuri has a more languid style but is equally persuasive, lending an endearing smokiness to Signs and The Surge. Cyclone starts atmospherically, with thunder and rain, a song brought to life by Half Waif’s strong vocals.

Does it all work?

Pretty much. The twists and turns of the music lend themselves well to the album format, the levels of intensity rising and falling with the differing moods of each song.

Is it recommended?

It is indeed. Sandunes has a great deal of imagination in her music, and The Ground Beneath Her Feet is invigorating and fresh.

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Published post no.2,020 – Saturday 25 November 2023