Category Archives: On record

Switched On – The Orb: Prism (Cooking Vinyl)

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by Ben Hogwood

What’s the story?

British electronic artists are known for their staying power. Few are more durable than The Orb, however, with Alex Paterson’s band having gone through so many different membership connotations since their formation in 1987.

These days the outlook is relatively settled, as the duo – Paterson and Michael Rendall – have now completed three albums together, bringing the studio album count to 18.

There are plenty of guests adorning Prism, with its artwork homage to Pink Floyd, intentionally or not marking the 50th anniversary of Dark Side Of The Moon.

What’s the music like?

If you know The Orb from the 1990s, the musical content of Prism will come as little surprise. And yet Paterson and Rendall have made an album full of very fresh sounding music, and any familiar formulas that might be used are given the freshest coat of paint.

There are some explicit musical homages made throughout the record. H.O.M.E. (High Orbs Mini Earths) makes direct reference to Mr Fingers’ Can You Feel It in its celebration of Chicago house music, while Living In Recycled Times follows the promise of its title by matching the key, tempo and mood of Adam F’s Circles and Alex Reece’s Feel The Sunshine, both prominent drum ‘n’ bass tunes in the mid-1990s.

These are two excellent tracks, but the pure reggae contributions are best of all. A Ghetto Love Story uses Eric Von Skywalker to bring the sunshine, a great piece of Brixton committed to record – while Tiger makes a powerful impact, its dedication to Paterson’s son and late brother made meaningful in music of strong emotion.

More traditional ambient fayre can be found elsewhere, with the heat-soaked Picking Tea Leaves And Chasing Butterflies a real gem in its use of distant trumpet fanfares and chugging foreground beats.

Does it all work?

It does. Even though Paterson can make this sort of album in his sleep, he shows what a strong instinct he has for structure. Prism works beautifully as a single listen, and although there are a few slightly derivative tracks they all carry the distinctive Orb imprint.

Is it recommended?

Heartily. The Orb have a remarkably consistent discography, but Prism is one of their very best.

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Switched On – Matthewdavid: Mycelium Music (Leaving Records)

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by Ben Hogwood

What’s the story?

It is definitely worth reading the thoughts of Matthewdavid behind his new album, as documented on his Bandcamp page.

In the course of his writing the Los Angeles-based producer documents the importance of the vast, subterranean fungal network known as the ‘mycelium’, and proceeds to explore how he has captured it in musical form.

It is his first long player release in five years.

What’s the music like?

As always, Matthewdavid’s music teems with life, and in this case it feels like a process of continuous growth expressed in musical form. With no drums, and seemingly no pulse under which the music operates, it takes its own elasticated form. The relative lack of bass, too, means that the listener can feel suspended in space, the music taking place all around without ever feeling earthbound.

The music has a closer focus than previous Matthewdavid’s Mindflight material, more psychedelic too – and often carries the impression of tendrils being extended through probing electronic sounds. On occasion the view pans out to take in a wider expanse, as on the tracks Liquidity and Zithercelium.

Does it all work?

It does, and the considerable advantage here is that the listener can sit on the edge of the music, enjoying its calming effect, or go for total immersion on headphones to harness its peak meditative powers.

Is it recommended?

Yes. Matthewdavid’s take on ambient music is a consistently individual one, and this album is full of new life, intriguing sonic tunnels and possibilities.

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Switched On – Kid Koala: Creatures Of The Late Afternoon (Kid Koala)

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by Ben Hogwood

What’s the story?

Kid Koala is truly a one-off. Not content with making inventive hip hop beats infused with scratching, quirky if well chosen samples and catchy hooks, he matches his music with distinctive visual art.

Such is the case with Music For The Late Afternoon, whose LP is accompanied by a board game. Typically for Koala – real name Eric San – the album tells a selection of stories that move quickly between musical sources.

As with a number of established beat makers, he is amassing a considerable body of work, this being his ninth album.

What’s the music like?

Both psychedelic and charming! There is no limit to the imagination here, with a veritable kitchen sink of riffs, beats and speech samples, but it all comes together just like the colourful animations Kid Koala does so well.

Some of the songs here are crowd scenes, children’s voices calling out mottos on the likes of Things Are Gonna Change, supported by walls of guitar and white noise. 1,000 Towns is a slightly macabre waltz, weird but winsome.

The blasts of musical adrenalin are complemented by slower, thoughtful asides where there is touching vulnerability, or charming and often amusing dialogue, in this case a couple of scenes in a robot hotel.

There is more variety here than on previous records, but plenty of scratching prowess throughout, Koala’s turntable work so subtle that you’ll oftem miss it.

Does it all work?

Yes. As ever there is a lot of fun to be had here, with a lot of musical twists and turns that might reflect a short attention span but keep the listener engaged.

Is it recommended?

Yes. An album that proves energising, touching and celebratory in equal parts. Closing track Til We Meet Again provides the ideal final sentiment, as hopefully Kid Koala will continue in this rich vein of form.

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Switched On – Passarella Death Squad: What We Are, You Shall Be (Passarella Records)

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by Ben Hogwood

What’s the story?

Thirteen years might seem like an age in music, but Danny Passarella and Emilie Albisser have not been idle since the release of their first album.

As Passarella Death Squad they have established themselves as cutting edge clothing designers in London, following the lead of Andy Warhol’s Factory. Simultaneously they have been busy raising important human rights issues through their RAISE publication.

Though the two have their hands full, music has always been front and centre of their world – and here the duo release their first album since their self-titled opus in 2010.

What’s the music like?

Atmospheric and impressive. Passarella and Albisser make slow burning songs that gradually open out like exotic flowers. Their music crackles with atmosphere, and on cuts like Creatures it sports a strong four to the floor beat to go with a song that grows impressively.

Emilie Albisser’s voice is cool and sometimes deadpan, but it gets the ideal backing with lean, bass-led grooves that bring the work of Gus Gus to mind while maintaining a wholly distinctive voice.

Just Like Sleep is one of the standout songs, a nocturnal lament that is beautifully structured and executed. No Mas has a sharper bass shadowing a semi-operatic vocal, with a recurring theme that gathers momentum as the song kicks into gear.

Often the music sets the scene of a club with very dark corners, exploring ghostly and gothic themes with lyrics that are similarly low in temperature. The title track is a good example of this, Albisser’s voice threatened by a robotic intervention but the music continuing on its coolly detached path.

Does it all work?

Yes. The minimal production gives the songs – and in particular Albisser’s voice – enough room to make a strong impact.

Is it recommended?

It is. A smoky second album to lose yourself in. Make sure you give it several listens to fully cast the spell.

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On Record – Daughter: Stereo Mind Game (4AD)

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by Ben Hogwood

What’s the story?

Daughter have something of a cult following, and it’s easy to see why. They have the ability to build strong connections with their listeners, through subtle music that can often be interpreted as downward looking but actually turns out to have a positive undercurrent beneath.

Their last album, Not To Disappear, was perhaps too dark especially given its January release in 2016, but seven years on from that the group have released a couple of strong singles with their collective eye firmly on the long playing game.

What’s the music like?

Both elegant and profound. Where Not To Disappear carried a weathered expression, Stereo Mind Games looks upward with more kinetic energy, alternating between urgent thoughts and slow tracks acting as a musical comfort blanket. There is a really pleasing contrast of light and shade, and their songs have an attractive poise this time around.

Be On Your Way is a standout song that hits home a few listens in, flickering with promise for the future while telling the first part of a story to be continued. Dandelion has a crisp urgency that is the ideal foil for the vocal, while Neptune gives the voice free reign, climbing up to emotional heights thanks to Elena Tonra‘s input as a breathy but meaningful vocalist. Swim Back makes a lasting impression, its driving bassline and swirling production complemented by strong vocals and enigmatic lyrics.

Tonra’s voice dominates proceedings, but in the intervening years it has become a more versatile instrument, operating in slightly glacial tones but also capable a more direct approach.

Does it all work?

Yes, it does – because Daughter reach their listeners with subtle, elegant songs and few frills.

Is it recommended?

It is. Give it a few listens and Stereo Mind Game will set up its own corner in your head.

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