Category Archives: On record

On Record: Aria Rostami & Daniel Blomquist: Still (Glacial Movements)

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reviewed by Ben Hogwood

What’s the story?

The music of Still reflects the circumstances in which the album came together. Aria Rostami and Daniel Blomquist have already released a collaboration for Glacial Movements – the Wandering Eye album – where they focused on the Antarctic Plateau, and the best places to observe space. Yet during that work the building blocks for Still were already in place.

The music explores a process of change over time, describing how time can change its motion in cases of cold weather. Because of this, each track ends up at a different place from where it started.

What’s the music like?

As deep as the ocean, and as slow as a huge ship in icy water. This is music that works well as background listening but reveals its intensity when experienced up close. The structures are as big as the pair’s first album – ten minutes or more in some cases – but maintain their concentrated level throughout.

The use of fragments of speech in the background of Undercooled works well against the foreground and wide background elements, with flecks of piano appearing towards the end. The lovely wide outlook of Hoarfrost works well, with chords shifting very slowly and peacefully, while Crystal Gazer swirls and then settles on a harmonic bed before floating away.

Does it all work?

Yes. These pieces are like six massive chord progressions over a long period of time, but they link together beautifully to make one big structure. It is the coldest of ambient music – you can literally feel the ice at times! – but leaves the sort of warmth you feel when getting back indoors after a stint outside on a cold winter’s day.

Is it recommended?

Yes, along with the duo’s first album. It ticks all the boxes for a Glacial Movements release while keeping its own individual qualities. A subtly invigorating piece of work that makes its mark.

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On Record: John Carpenter: Lost Themes III: Alive After Death (Sacred Bones Records)

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reviewed by Ben Hogwood

What’s the story?

The further he moves into his seventies, the more John Carpenter blossoms as an artist of many creative disciplines. His work as a composer has built up an impressive momentum which nobody could have foreseen ten years ago, with two sets of Lost Themes in 2015 and 2016, along with the soundtrack to his own reboot of Halloween in 2018.

Lost Themes III: Alive After Death sees him working once again with son Cody on synthesizers and godson Daniel Davies on guitar, the three showing their musical acumen on another ten choice cuts.

What’s the music like?

Deliciously dark. Carpenter instinctively knows how to evoke a scene with instant effect, and many of the themes here have the unmistakable scent of Gothic horror. The music is hugely enjoyable, not afraid of a musical cliché or two when the trio rock out, but there is show a sensitive underbelly to Carpenter’s writing, an emotional depth underpinning each of the selections here.

That side is most evident in Dripping Blood, but the more typical Carpenter sound is the majestic, immediate presence of the title track, or the fabulously dark Cemetery, with a low piano line glinting in the moonlight. The beatless Dead Eyes is a mysterious interlude, its harmonies drifting restlessly, while in contrast The Dead Walk has a hollow beat driving it forward.

Daniel Davies’ guitar work is instrumental to the success of Weeping Ghost, a futuristic rocker with a throbbing beat, and also Vampire’s Touch, where the guitars growl as the groove gets into its stride. Yet Carpenter’s music is at its best when the keyboards dominate. Skeleton shows this best of all, a shapeshifting rock chorale that dazzles with its changing harmonies.

Does it all work?

Yes. These are brilliantly scored and wonderfully evocative instrumentals, each with a different shade of darkness. The only criticism would be that some of the themes – Dead Eyes for instance – pull up short and could be longer than they are. It’s a small point that actually emphasises how good this music is!

Is it recommended?

It is. Carpenter knows how these things work, but is never complacent in his music, which has the ideal blend of suspense, terror, humour and a sense of occasion. If you have the previous two volumes, no need to hesitate – and if you don’t, then what are you waiting for?! Prepare to be scared…

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On record: Sinfonia of London / John Wilson – English Music for Strings (Chandos)

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Sinfonia of London / John Wilson

Britten Variations on a Theme of Frank Bridge Op.10 (1937)
Bridge Lament (1915)
Berkeley Serenade for Strings Op.12 (1938-9)
Bliss Music for Strings (1935)

Chandos CHAN 5264 [64’46”]
Producer Brian Pidgeon
Engineers Ralph Couzens, Alex James

Recorded 9-11 January 2020, Church of St. Augustine, Kilburn, London, UK

Reviewed by Ben Hogwood

What’s the story?

After three wonderful albums extolling the virtues of French orchestral music, Korngold and Respighi, John Wilson and his Sinfonia of London charges turn much closer to home with a set of British music for strings drawn from the 1930s. They begin with an established classic, Britten’s Variations on a Theme of Frank Bridge, complemented by two neglected works from Sir Lennox Berkeley (his Serenade for Strings) and Sir Arthur Bliss (the Music for Strings), neither of which appears to have been recorded in the last 20 years. There is also room for the brief Lament from 1915 by Bridge himself.

What’s the music like?

Britten’s Variations on a Theme of Frank Bridge will be familiar to many, but rarely in a performance as good as this. The theme, lovingly drawn from the Second Idyll for string quartet of Britten’s teacher, receives a virtuoso treatment, taken through a number of wildly differing dance forms before a powerful fugue and finale. The variations are sharply contrasted, with a crisp March at odds with the loving Romance that follows; the fulsome Wiener Walzer countered by the rush of a Moto perpetuo.

Berkeley’s Serenade for Strings works really well in this company. It is a work beginning with outward optimism but which ultimately falling under the shadow of the imminent Second World War. A busy first movement, its Baroque influences brought out by Wilson, is complemented by an inward looking but tender Andantino. Berkeley finds renewed energy in a quickfire Scherzo, but that is trumped by the closing Lento, which leaves a lasting impression, reflecting the anxiety felt as the 1930s drew to a close.

There is a good deal of positive energy in Bliss’ Music for Strings. Taking a lead from Elgar’s Introduction and Allegro of 1905, the composer writes for a full string orchestra but often picks out a smaller group of soloists. The substantial three movements show a masterly command of the string orchestra, from the wide span of the vigorous first movement to the meaningful Romance that follows, with lovely rich contributions from violas and cellos. The third movement starts hesitantly, in the depths, but soon the light breaks through to an effervescent finale.

Does it all work?

Everything works here, thanks to the thoroughly assertive performances secured by Wilson. He is quite quick on the draw with the theme for Britten’s variations, maybe quicker than some would like, but the thrills and spills that follow make this one of the finest versions available. The Aria Italiana has all guns blazing in a wonderful display of precision and power, while the Funeral March has a searing and chilling clarity.

Successful though the Britten is, it is the Berkeley and Bliss that ultimately give the disc its importance. The Berkeley is keenly felt, positive in its fast music but anxious in its two slower movements and raising emotional questions in the fourth. Wilson catches its air of uncertainty at the world in which we live, as relevant now as it was then.

The Bliss has terrific drive in its faster music, which builds up a thoroughly convincing momentum while succeeding in bringing forward the writing for the chamber ensemble at the front. The textures are beautifully clear thanks to the Chandos recording, the quicker melodies’ punchy phrasing cutting through easily.

The Bridge Lament, though short, proves a mellow complement to the Britten, a chance for the listener to collect their thoughts while the Sinfonia play with a beautiful, muted sound.

Is it recommended?

In every way. John Wilson and the Sinfonia of London breathe new life into this music, and their programme is superbly judged to bring two neglected and very fine works back into contention. The cover, a painting of Bliss’s Pen Pits house by Edward Wadsworth, is the icing on the cake with its classic 1930s style.

For further information on this release, visit the Chandos website.

On Record – Cobalt Chapel: Orange Synthetic (Klove Recordings)

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reviewed by Ben Hogwood

What’s the story?

Cobalt Chapel, the duo of Cecilia Gage and Jarrod Gosling, release a second album of pop roots in psychedelia and folk music, focusing in on their home county.

It is, as they say, ‘music grounded in the Yorkshire earth; its people, the surrounding nature, landscape and its mythology, from the distant past to modern life’.

What’s the music like?

Both protagonists of Cobalt Chapel have varied backgrounds – Gosling as a one-time member of I Monster and Gage through her work with Maps and Matt Berry. Orange Synthetic celebrates these diversities, and its music proves to be unpredictable and inventive if occasionally loose in structure.

The duo start out with what sounds like a leftfield pop album, but gradually more psychedelic, woozy layers are revealed, along with an underlying haunting quality. Our Angel Polygon is responsible for the latter feeling. A striking track with slightly sinister lyrics and a melody from folklore, it was inspired by RAF Fylingdales, the distinctive early warning centre on the East coast of Yorkshire. Its enormous domes, like oversized golf balls, are evoked here in a song of windswept mystery.

In Company, the first song of the album, is a dark fairy tale seen through the eyes of writer Angela Carter. It comes in an exquisitely scored chamber-pop setting, with Gage’s deadpan vocal both affecting and unsettling.

Meanwhile the rolling beat of It’s The End, The End carries a bleak, apocalyptic message, while the haunting folksong of E.B. is head as though in a weird apparition.

At times the album is downbeat in its message but the elements of fantasy and mystery are key, as are the elements of late 1960s psychedelia in the production. These give an essential colour to the music.

Does it all work?

Largely. The musical freedom Cobalt Chapel allow themselves is refreshing, and it allows them to construct unusual and evocative songs, which translate themselves into striking pictures for the mind’s eye. The bleakness of the Yorkshire moors is successfully evoked but so is the wonder of those open spaces.

Is it recommended?

It is, but with the caveat that Orange Synthetic is a dark album for a dark time of the year. It is beautifully made and executed, and offers some haunting visions. Fans of Broadcast and Stereolab will undoubtedly find something to enjoy here.

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You can buy the album from the Norman Records website

On record: BBC Philharmonic Orchestra / Jac van Steen – David Matthews: A Vision of the Sea (Signum Classics)

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BBC Philharmonic Orchestra / Jac van Steen

David Matthews
Toward Sunrise Op.117 (2012)
Symphony no.8 Op.131 (2014)
Sinfonietta Op.67 (1995)
A Vision of the Sea Op.125 (2015)

Signum Classics SIGCD647 [67’42”]
Producer Michael George
Engineer Stephen Rinker

Recorded 7 November & 6 December 2017, BBC Studios, Mediacity, Salford, UK

Reviewed by Ben Hogwood

What’s the story?

This album is billed as an approachable route in to the music of David Matthews, one of the most prominent living British symphonic composers. Matthews has nine symphonies under his belt already, and we hear the Eighth as part of this programme, but he has a wealth of orchestral music alongside, from which Jac van Steen and the BBC Philharmonic Orchestra draw three works.

What’s the music like?

Matthews’ Symphony no.8 forms the centrepiece of the program, a substantial three-movement work completed in 2014. Its taut musical arguments suggest the influence of Sibelius, the harmonic language appears to build on late Vaughan Williams, and there are references to Debussy and Stravinsky in the orchestral colours used by the composer.

Yet this is by no means a derivative work. Matthews writes in the booklet note that he no longer feels the need to defend writing tonal music, and this argument gets the strongest possible endorsement from the music itself. From the opening chord, rich in woodwind, the musical exchanges are compelling, the harmonies often bewitching, and the form instinctive, written as it is by a hand of symphonic experience.

Too many newer symphonies are let down by their faster music, but not in this case. The first movement unfolds with powerful statements from brass and strings, their energetic arguments punctuated by rolling timpani. The bracing energy is complemented by a reflective Adagio, whose soft chords achieve contemplation in the context of a surrounding, uneasy mood. The music builds, reaching an impressive apex with full-bodied string sound before returning to its original state.

Matthews finishes with an uplifting set of four dances, inspired in part by vapour trails on the Kent coast. The bright colours and persuasive triple time rhythms add a lightness of touch to the full orchestra passages, resembling the profile of the second movement Sibelius’ Fifth Symphony…in a good way! The lightness of touch Matthews achieves at the final resolution is both unexpected and charming.

After the Eighth Symphony we hear the Sinfonietta from nearly 20 years earlier. A tightly compressed piece, its leaner textures generate a good deal of tension, as does the jousting between instrumental sections of the orchestra. The piece is in effect a short concerto for orchestra, culminating with thunderous timpani and short but probing melodies. It is convincing in its outcome, but less accessible with its more oblique melodies.

The accompanying pieces show Matthews’ ability to paint pictures with an orchestra. His tone poem Toward Sunrise begins the album. It is a response to the sun’s ability to make its own music through magnetic loops coiling away from its outer atmosphere, captured in sound by students at Sheffield University. Matthews takes two notes heard in that recording and transfers the motif to the depths of the lower strings, conveying the passing shadows of the night from which the sun will emerge. As the sunrise itself begins the orchestra tingle with anticipation, a volley of timpani rings out and the first rays poke through as the piece ends. It is the ideal piece with which to start.

The hiss of waves on the beach is immediately audible in A Vision of the Sea, a four-part tone poem completed in 2013. British composers have long written effective pictures of the sea, notably Vaughan Williams, Britten and Bridge, and Matthews can be added to that list. His first-hand account of English Channel vistas, punctuated by herring gulls, gets into the minds’ eye of the listener, painted with the help of ghostly piano and an expert use of the percussion section. The vision ends with another sunrise, and the crash of the waves on the shore.

Does it all work?

It does. The program is ideally judged, each work succeeding on its own terms but working as part of the bigger whole. The clinching factor is these authoritative performances from the BBC Philharmonic Orchestra, who have a very strong relationship with Matthews’ music. They appreciate his credentials as a fine symphonist, and his ability to create pictures in an instant.

Is it recommended?

Yes, with great enthusiasm. So many works premiered in this century are not followed up with second performances or recordings, which can be frustrating for concert goers, so it is wholly satisfying to see Signum and the BBC Philharmonic investing so much in this release. Their efforts are handsomely rewarded.

For further information on this release, visit the Signum Classics website.