Category Archives: Switched On

On Record – Herbert & Momoko: Clay (Strut / Accidental)

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by Ben Hogwood

What’s the story?

This is an intriguing collaboration between the multi-skilled producer and instrumentalist Matthew Herbert, and drummer / vocalist Momoko Gill. Clay is the result of a musical relationship begun in 2024 with the song Fallen.

Typically for Herbert releases there are some intriguing sound sources involved, with live improvisation and sampling paired with the use of instruments ranging from kotos to basketballs. In the words of the Bandcamp commentary, “Clay treads nimbly between the dancefloor and the more introspective moods of the early hours”.

What’s the music like?

Intriguing at the very least, and often touching on the sweet spot between the end of the night and the start of the morning, capturing a rarefied set of sounds.

Gill’s pure voice conjures memories of Sade on occasion, and with sensitive and creative drumming proves the ideal foil to Herbert’s creative production. As the album progresses the songs only get better and more substantial.

Mowing is reminiscent of early Herbert, with its ‘kitchen sink’ percussion paired with a sonorous vocal, and so is Fallen Again, a particularly beautiful number. Drums and vocals – upper and lower registers – trade off to good effect on More And More, while the vocals dovetail nicely with minimal accompaniment on the short Heart.

Animals pairs flickering riffs from percussion and keyboard with the voice, but the longer songs are even more effective, developing in hypnotic fashion. Fallen Again is definitely one of those, while Circle Shore, by contrast, proves to be a thoughtful coda led by Gill’s drums.

Does it all work?

It does, though where you listen is key, as sometimes the level dips on headphones and the intricate production cannot be fully appreciated. When at their peak, though, Gill and Herbert are frequently compelling.

Is it recommended?

Yes. With such creative minds in play the results could never be less than interesting, and with Clay Matthew Herbert and Momoko Gill have created a bewitching and seductive album.

For fans of… Jamie Lidell, M J Cole, Roisin Murphy, Dani Siciliano

Listen / Buy

Published post no.2,597 – Wednesday 16 July 2025

On Record – Steve Queralt: Swallow (Sonic Cathedral)

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by Ben Hogwood

What’s the story?

This is the first solo album from Ride bassist Steve Queralt, the result of fitful opportunities to record between the ‘day job’.

Yet the fact that Swallow has taken shape over five years is an illustration that it means a lot to him, as he joins his band mate Andy Bell with a solo record on the Sonic Cathedral label.

Queralt is joined by singers Emma Anderson (ex-Lush) and Electrelane’s Verity Susman, who guest on three of the album’s nine tracks.

What’s the music like?

Beguiling. Queralt writes in the shoegaze tradition, like his band, but there is some wonderfully dreamy music here that puts you under its spell with repeated success.

After an atmospheric introduction, Lonely Town – headed by Anderson – is an early highlight, a dream pop moment of excellence that reaches the heady heights. Anderson appears again on the moody Swiss Air, with exhilarating widescreen production, while Verity Susman’s contribution is also a thing of wonder, a bold vocal backed with big guitars and spacious production.

Elsewhere Queralt complements the vocal numbers from the heart with some impressive instrumentals. 1988 holds itself with poise, a slower number that Queralt paces to perfection until it breaks out into a massive, drum-fuelled epic. A Porsche Shaped Hole has the sort of grandeur you would associate with M83, reaching for the stars and then floating seamlessly.

Does it all work?

It does. Queralt gets just the right balance of soft and loud, vocal and instrumental, slow and fast – the result being that the nine-tracks fairly fly by.

Is it recommended?

This is an auspicious debut from Steve Queralt, a starry-eyed gem that frequently reaches the celestial bodies for which it aims. It is a shame he has started late on the solo trail, but hopefully this will encourage him to take the plunge again without delay. Highly recommended.

For fans of… Ride, M83, Trentemøller, Maps, Beach House

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Published post no.2,593 – Saturday 12 July 2025

New music – ØXN – Cruel Mother (Remixes) (War Child)

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from the press release, edited by Ben Hogwood

Acclaimed composers and producers Geoff Barrow and Ben Salisbury, known collectively as DROKK, make a long-awaited return with a striking remix of Cruel Mother by ØXN—originally released on ØXN’s 2023 album CYRM. This marks DROKK’s first release since their self-titled debut album in 2012. The package is complemented by Ben Frost’s haunting, elegiac rework.

Barrow and Salisbury, whose work as DROKK began in 2011, have since focused on a range of scoring projects across film and television. Now, they revisit their DROKK identity with a new purpose: using music to support War Child UK.

“We love ØXN—not just their music, but who they are as people, and what they stand for politically,” says Barrow. “We’ve been huge fans of “Cruel Mother” since its release, and I reached out to see if we could remix it in support of War Child, a brilliant charity I’ve been involved with for many years.”

The remixes will be released alongside the ØXN original on limited edition vinyl, with 100% of profits donated directly to War Child, which supports children affected by conflict around the globe. Order the vinyl and download / stream the remixes here.

“I just hope we’ve done the song justice,” Barrow adds. “Like many people right now, we’re feeling helpless and heartbroken by the suffering of children in war zones. While we can’t fix broken infrastructure or end conflicts ourselves, we can use our music to raise money and awareness. This is our way of contributing.”  

ØXN adds, “Nobody can escape the sickening and horrifying images being live streamed to our eyes every day of innocent civilians, those mostly helpless and defenceless children being murdered or maimed, orphaned and forever mentally scarred because of the choices made by political fascists and tyrants. The proceeds of this release will go to War Child.

“We stand with the children of Palestine. The children of Sudan. The children of The Democratic Republic of Congo. The children of Ukraine. The children of Yemen and all the children dragged into these man-made nightmares.”

Published post no.2,592 – Friday 11 July 2025

Switched On – Various Artists – Place: Toronto curated by Ciel (Air Texture)

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by Ben Hogwood

What’s the story?

Air Texture’s new Place series is a brilliant initiative, the label describing it as “a location specific electronic music compilation series where all proceeds are donated to local groups working on important causes in that area such as environment, human rights, conflict aid, and support. The goal is to build a global network of music producers bringing important issues to the electronic music community and world at large.”

It certainly looks like being a source of interesting and vibrant electronic music, judging by the ten destinations the series has already visited. The eleventh falls under the wing, of Ciel, born in China but based in Canada. She is a highly respected producer, DJ and head of the Parallel Minds label – as well as a campaigner for equality and social justice in electronic music.

What’s the music like?

Inventive and intriguing. With a wide range of beat-driven inventions, Ciel has picked 23 complementary productions.

The highlights include Ninechecker’s Frequency Jumping, a really good broken beat track, while Siviyex’s Decals Of Vedici is an effective combination of glitchy beats and woozy vocal snippets. Meanwhile Chambly, by MIASALAV, could almost be a good Lo Fidelity Allstars offcut. Ana Luisa & Geezr’s Bahracas puts its foot down, while the riff for Moon King’s Reverse Imaging hovers beautifully, its elements reminiscent of early Warp records.

Meanwhile Cosmic JD’s Hi Sensei and Yohei S’s Skatter bubble with invention over an upright beat, with the percussive approach taken further by Ficilio’s Alba, a really effective piece of fast-slow dub. Emissive packs a good deal of ambient energy into No Envo, which casts a lingering glance back at the 1990s, before heavier beats kick in with Generator’s Freaky 2nite.

Does it all work?

Much of it does – though be aware that the customary immersive ambience you might anticipate from an Air Texture compilation is not to be found in the energetic beats and lively percussion on offer here!

Is it recommended?

It is, in spite of the above. Quite apart from being a good cause, the compilation is a great source of discovery and packed with good things.

Listen / Buy

Published post no.2,586 – Saturday 5 July 2025

Switched On – Hawksmoor – An Aesthetic – Experiments In Tape (Lunar Module)

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by Ben Hogwood

What’s the story?

To quote the Bandcamp guide for this release, “James McKeown is a Bristol-based musician known for his innovative approach to music production and sound design. With a passion for combining modular synths with layers of live bass, guitars and experimental techniques, McKeown has carved out a niche in the electronic music scene, captivating audiences with his unique sonic explorations.”

An Aesthetic is a series of ten pieces taking the concept of hauntology further than before, and “into a liminal space of sonic saturation”. This is done through layering the wow, flutter and warble of tape artefacts, creating a unique sonic landscape.

This, then, is music for blank tape – but in a thoroughly intriguing compositional process, released on Lunar Module, the new Castles in Space CD imprint.

What’s the music like?

As the above implies, otherworldly and haunting. This is music to accompany a film where all is not quite as it seems, and where images suddenly rear up in front of the camera. That at least is what is threatened by Aesthetic II, whose bright tones are compromised by a claustrophobic atmosphere.

Aesthetic III is both oppressive and weirdly comforting, a wall of sound that feels like a massive duvet round the ears by the end, while Aesthetic VII is more ominous still. Aesthetic V crackles but settles into one of the most ambient tracks of the ten. Aesthetic VIII is the longest of all, the D-120 of the selection (for TDK fans!), and a wobbly but winsome track, with a rather beautiful chord progression that recurs at regular intervals. Aesthetic IX has the broadest melody, almost a spiritual in its plaintive quality, while the concluding Aesthetic X is a satisfying exploration of the bass range.

Does it all work?

It does – the ten pieces form a kind of suite that can be easily experienced in one sitting, and the lack of digital correction is appealing.

Is it recommended?

It is. An Aesthetic is a fascinating set of collages and inventive sound pieces that fit well together, creating an atmospheric whole. Not for all moods, that is for sure, but a consistently rewarding listen.

For fans of… Flying Saucer Attack, Pram, Bvdub, My Bloody Valentine

Listen / Buy

Published post no.2,583 – Wednesday 2 July 2025