Category Archives: On record

Switched On: Speaker Music – Techxodus (Planet Mu)

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by Ben Hogwood

What’s the story?

Speaker Music is the work of writer and producer DeForrest Brown Jr., who describes his work as “abstracting Blackness through information overload” or, in the first track, “Black music that sounds technological, rather than music made with technology.” He does this through a combination of live and pre-edited music.

Techxodus is designed as an epilogue to Brown’s book Assembling A Black Counter Culture, or – as he describes it again – as “an extension of the Drexciya Mythos; researching  and reimagining the artefacts and stories of Drexciya with new maps, ideas and music, in particular reflecting on the ‘Seven Storms’, seven albums that came out in quick succession around the death of Drexciya member James Stinson, which seemed to herald Drexciyans in the attack mode.”

What’s the music like?

Brown Jr. sets out the principles behind the album over a single, thickly textured chord – an oceanic drone, if you like, and the ideal way into the album. Gradually the wholeness starts to break up, with muted trumpet and flickering percussion that carries into Techno-Vernacular Phreak. The percussion cuts loose, the harmonies start to wander, and a certain tension is introduced.

The treble lines have a piercing, acidic qualities that Brown offsets with these lovely, deep-dive drones such as the one that starts Holosonic Rebellion. This track grows into a depiction of an uprising, thrilling on one hand but disconcerting on the other. The intensity grows through Dr Rock’s PowerNomics Vision, threatening to spill over as the drumming becomes more insistent and the vocals edgier. Jes Grew brings this to a peak, with thrilling walls of sound from the brass that sound like insistent train horns, broken up by the frenetic drumming. Our Starship To Ociya Syndor returns to the rich drone-based approach, with wordless voices borne on the airwaves beneath shrill sonic signals. The intensity subsides – but only a little – before the scattergun drumming and distortion combine to bring Feenin’ to a coruscating peak. Finally Astro-Black Consciousness returns us to the mood of the opening, journey complete but with the wailing of gospel voices in the middle ground.

Does it all work?

It does – because Speaker Music has a style all of his own, a fascinating intersection of experimental jazz and techno that proves difficult to break down. New technology provides part of the thrill, but also a hidden menace.

Is it recommended?

It is indeed. Techxodus is a powerful and highly emotive listening experience, which only grows in stature the more you hear it.

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Switched On: Sean La’Brooy – There’s Always Next Year (Analogue Attic)

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by Ben Hogwood

What’s the story?

There’s Always Next Year has a very English feel to its title, though its roots lie more accurately in shattered sports fantasies. It is, says Sean La’Brooy, ‘a tribute to the misguided hopes and dreams of a sports fan. Field recordings and commentary from a range of codes weave between silky saxophone lines and piano chords in what is a textbook showcase of the classic Analogue Attic downtempo and early evening sound we’ve come to know.’

It is La’Brooy’s second solo release, a complement to his work in tandem with Alex Albrecht as one half of Albrecht La’Brooy.

What’s the music like?

One of those silky saxophone lines can be heard early on in Offseason Getaway, courtesy of Greg Carleton – who allows the instrument to wander above active yet sensitive drumming from Leo Yucht.

The music has a wider, outdoor span thanks to La’Brooy’s roomy production – and that comes into its own for the beautiful scenes painted by Curse and 3rd and 28, where the commentary field recordings only heighten the ambience. Carleton returns for a delightfully lazy contribution to the atmospheric 140 to the Pin, where the pace quickens and the style switches to deep house. There it stays for the much busier Let, with bell-like melodic loops and urgent beats.

Finally we return to a trio with Carleton and Yucht for the regret-laden title track, with airy consolation found from keyboards too.

Does it all work?

It does. Consolation for sports fans is close at hand!

Is it recommended?

Very much so – if you’ve been following La’Brooy or Albrecht, you will find much to enjoy here. It is music to slow the pace and soothe the fevered brow of modern life.

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Switched On: Thomas Fehlmann – Umdrehen (Edition DUR)

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by Ben Hogwood

What’s the story?

Umdrehen is a word that denotes a twist, a turning around, a reverse – and the name of Thomas Fehlmann’s new album.

It is effectively a title that gives Fehlmann free musical rein on a 40-minute set of musical experimentation. He refers to his approach as ‘generative music’, with the element of chance playing a role in his choices.

What’s the music like?

Not as playful as the above description might suggest. In fact some of this album operates under a dark cloud, wrapped in an ambience that can be cloying.

That said, there is a good deal of invention here that makes its best impression on headphones. Having established the dark, brooding textures, Fehlmann adds a shuffling beat and semi-industrial field recordings to Gelbe Kurve. There are some unnerving moments, such as Steinwurf, while Doppelherz opens out to a much wider expanse, offering a halo of light around the music. By contrast Feuchter uses mottled chimes, which prove to be comforting yet weirdly eerie. The delicate exchanges of Gehupft suggest the chance elements more, with a cold intimacy, while the soft hues of Prenzlau an sich are complemented with foreground chatter.

Does it all work?

Largely – though the feeling does persist that Fehlmann is in search mode, never quite pinning down a style of music to settle on. Because of that Umdrehen has a fleeting, fitful ambience.

Is it recommended?

It is – and Umdrehen is certainly an interesting addition to Fehlmann’s impressive discography, if not perhaps the most successful.

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Switched On: Anthony Wilson – Collodion (Colorfield)

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by Ben Hogwood

What’s the story?

Anthony Wilson has a most impressive musical CV. While big band jazz played a pivotal role in his musical upbringing, he also has a great deal of experience in pop music, playing with Paul McCartney, Leon Russell, Randy Crawford and Willie Nelson among many others. To an extent, that is the ‘day’ job – for as a composer Wilson has an experimental and exploratory approach, looking for new sounds and collaborators.

To that end his new album Collidon finds him trying out new sounds and instruments in the company of fellow Colorfield luminaries Anna Butterss, Daniel Rotem, Mark Giuliana and Rob Moose. The producer is Pete Min – and Wilson helpfully lists all the instruments used in the recording (including the keyboards) on the album’s Bandcamp page.

For those wondering, as I was, what ‘collodion’ is, it is a highly flammable solution used in the manufacture of photographic film, or in medicine for sealing wounds.

What’s the music like?

Open minded – but Wilson is not a composer to lose his focus or indulge himself by seeing how many genres he can tick off for the sake of it.

Instead, we are treated to an album that is an exploration for the performers and the listener. Much of it has an instinctive feel, but this is the environment in which Wilson is most effective, with a sixth sense that tells him when to stick and when to twist.

The balance of kinetic energy and contemplation is finely achieved, allowing Wilson time out on Heart Whispering but bringing urgent dialogue to The Daughters Of Night, an atmospheric compilation of nocturnal noises and melodic snippets.

The piano often acts as the fulcrum in his music, whether in the stately chords of Keeping, complemented by more mysterious gamelan sounds, or by providing the harmony for Arrival At Kanazawa, which develops above an urgent drum track to express profound thoughts on the guitar. Dream Oracle adds a breathy tenor saxophone (Daniel Rotem) to its explorations, while the title track features a beautiful, silvery string arrangement executed by Rob Moose.

Does it all work?

Yes – though the feeling persists that Wilson could have enhanced the smaller tracks further, such as the glittering textures of Divine One.

Is it recommended?

It is, enthusiastically. An engaging and sonically rewarding piece of work.

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Switched On: Various Artists – Total 23 (Kompakt)

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by Ben Hogwood

What’s the story?

The end of summer brings one of those reassuring points in the Kompakt calendar, the annual release of their Total compilation. Once again it draws a line in the sand to bring us a snapshot of the music the Cologne label’s artists have been making over the last year, while throwing in the gratefully accepted new versions and rarities that we collectors treasure.

What’s the music like?

Very good indeed. While techno is the broad area where the 13 tracks lie, the range of the music runs from soulful introspection to peak time euphoria (aka Rex The Dog)

The collection begins with the subtle shades of Kollmorgen‘s Muddy. After that, Argia’s No Concept is quite stark but movingly so, before the confident poise of Jürgen Paape makes itself known. Talmi is a cracker, brooding and bristling over a strong four to the floor beat. The cinematic dance is suitably nocturnal. Four Down is classy, while Jon Tejada offers a lovely heat soaked number on Wild Ride. Rex tge Dog an excellent vocal number with its hook take away my sorrow and this pain. Hardt Antoine’s All We See sends tracers out into the night

Does it all work?

It does. Kompakt are well-versed in compilations of this sort, so there is no reason the 23rd instalment should be any different! It has a very satisfying ebb and flow, played out to a nocturnal background.

Is it recommended?

It is – a consistently good guide to where the label is at musically right now.

It is – typically thought provoking work from one of Britain’s finest electronicmusic makers.

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