Category Archives: Switched On

Switched On – Instra:mental: Timelines (Nonplus Records)

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reviewed by Ben Hogwood

What’s the story?

When Instra:mental started the Autonomic podcast series with like-minded producer dBridge, their mantra was ‘music first, drum & bass second’. The duo – Alex Green (aka Boddika) and Damon Kirkham – qualified this by saying at the time that their aim was not necessarily to make a drum & bass track, but to make music that was ‘emotionally charged, personally edifying and organic’. They proved this in their excellent contribution to the Fabric compilation series.

Timelines revisits the Autonomic series from their perspective, bringing together five of vinyl-only contributions with six previously unavailable archive tracks. Marking the fiftieth release on the Nonplus label, it is in effect their second album, eight and a half years after the excellent Resolution 653 in 2011.

What’s the music like?

With little reason to change a successful formula, Instra:mental continue to switch between brooding panoramic instrumentals and close-up, stripped back pieces of sharper sound and raw rhythm. Sakura and Pacific Heights fall resolutely into the former category, beautifully structured and weighted, and keeping a serene beauty until bolstered by the substantial rhythm sections. Tracks like Encke Gap, with its more explicit techno references, fall into the latter description.

The music will appeal to drum & bass listeners but it is actually more versatile than that, flexible enough to bring in lovers of deep house or even slower jams. This is because a lot of Instra:Mental’s music can be appreciated at either a fast or slow tempo. As they say in their commentary to the album, a lot of their tracks operate at a nippy 170bpm – but have rhythms inbuilt to cater for those who might prefer half the speed. This brings a curious tension to their music as well, found in the likes of the slower Deep Night, a nocturnal scene with a slight edge, or Photograph, a subtly reflective beauty. End Credits is even more delicately shaded, but again the tension this creates is exquisite.

Watching You is a superb example of their craft, a nocturnal, urban portrait, while Elsewhere has a 1980’s soundtrack edge to its main riff, an intriguing clash of modern with recent past that pans out nicely to a wider perspective around halfway through. Final track More Than is perhaps the pick, another piece of reflection but a beautifully voiced one.

Does it all work?

Largely, yes. Heard in a single LP the duo’s approach can seem a little singular at times, but if you’re listening on good headphones you will be able to fully appreciate the nuances of their rhythms and the ‘less is more’ approach that makes their music more pictorial. Better still, hear it on a dancefloor somewhere!

Is it recommended?

Yes – fans will not need any convincing and will certainly be pleased with the results of Timelines. It will be interesting to see where the duo go from here.

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Switched On – Back To Mine: Jungle (DMC)

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reviewed by Ben Hogwood

What’s the story?

The rejuvenated Back To Mine series – now into its third decade – moves on to Jungle. Two albums down, the figureheads of the seven-strong group, Josh Lloyd-Watson and Tom McFarland, have put together a collection of the music making them tick behind the scenes. As with a good number in the series so far, that means selections from the tour bus, the after party and almost certainly the morning after. It provides an insight to fans from behind the scenes on what makes them tick, and illustrates their policy of going for music they like, whatever the genre.

What’s the music like?

Predictably varied. After a nice bit of hot weather soul from Barbara Moore, it’s not long before the temp rises with No Fear, a lovely bit of affirmative Afro-funk from Jungle’s own producer Inflo, and the funk-fuelled disco house of Merle’s Fannie Likes 2 Dance. Having switched tack with four to the floor we go deeper with newer house from Manuel Darquart’s Birds Of Paradise and the lush heat soaked Red Haze from DrumTalk.

Gradually the tempo slows with the bumpy Space Cadet from Admin, a lovely deep bit of funk, and the even more lush sounds of The Marias’ Cariño. All the while we are heading for Sly5thAve and a superb cover of Frank Ocean’s Super Rich Kids, a typical example of Jungle’s light hearted and party fuelled approach.

The small hours having arrived, it’s an ideal opportunity for Kamaal Williams’ woozy High Roller, Sam Evian’s soft hearted Next To You and an off kilter Lavender from BADBADNOTGOOD and KAYTRANADA. As is traditional the host should add a track of their own, and Jungle’s is a typically heady Come Back A Different Day, over a stumbling rhythm, which pans out even further to Mansur Brown’s Shiroi.

For the home straight it’s slower and sultry funk from The Flying Stars Of Brooklyn NY’s Live On, then SAULT’s catchy torch song Masterpiece. Paul Cherry’s Like Yesterday is a rueful song of modern relationship ills, before the sleepy cinematic closer, HNNY’s Sunday. The house lights go up soon after!

Does it all work?

Pretty much all. Jungle have nailed the brief of the Back To Mine series, which ideally keeps the listener entertained and guessing, while educating them on some new sounds and bringing a bit more perspective to the music the hosts make. Jungle tick all those boxes and add some humour, sauce and funk.

Is it recommended?

Yes – an easy recommendation for a really enjoyable set of tunes. A bit smoky, certainly a bit rhythmic, and uplifting too. What’s not to like?

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Switched On – Special Request: Offworld (Houndstooth)

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reviewed by Ben Hogwood

What’s the story?

Paul Woolford’s third album of the year under the Special Request moniker attempts to answer a question. What if Jam & Lewis signed to Metropolis?

The thought of one of soul music’s finest production duo hanging out with Juan Atkins at the beginning of another era in Detroit musical history in the mid-1980s is an irresistible one, and Woolford’s ambitious attempt to bring the combination to life is what powers Offworld.

What’s the music like?

There are seven expansive tracks, mostly instrumental and rich in analogue colour, put together with Woolford’s trademark instinctive approach.

Immediately it finds the sweet spot with the booming bass, analogue highs and strong vocal of 237,000 miles. More typical of the album are the vast spaces evoked by Offworld Memory 3. Front Screen Projection looks back to Jean Michel Jarre with its synth sound and riff, but forward with its no-nonsense breakbeat, while Arse End Of The Moon, a classic Woolford title, has sharper sounds and clattering, big beat percussion. Morning Ritual is also a lovely track, a brooding instrumental, before a rather fine remix of The Grid’s Floatation, signing off with an affectionate quarter-hour of expansive ambience and a nicely done retro beat.

Does it all work?

Once again – yes. Woolford never pads his albums out too much, either in texture or duration, so while Offworld is not much longer than an extended EP without the Grid remix, it works brilliantly well.

Is it recommended?

Yes indeed – as much as the first two albums of this year’s crop did. Paul Woolford is on a roll right now and it’s up to us to keep up!

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Switched On – Conforce: Dawn Chorus (Delsin Records)

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reviewed by Ben Hogwood

What’s the story?

Conforce is the work of Dutch producer Boris Bunnik, who comes from the island of Terschelling, near Rotterdam. He has a good deal of previous in electronic music, working under the Versalife and Severnaya pseudonyms. This is his fifth album for the Delsin label.

Previous Conforce albums have included references to AI and machine learning, but retain their personal edge through Bunnik’s more ambient dressing and the packaging, which often includes his own photography.

What’s the music like?

Dawn Chorus moves at two different speeds. The foreground is rich with percussion, with rolling breakbeats that generate plenty of energy. This gives the music much more of a human element, ensuring it doesn’t sound too processed. Behind all the rhythmic activity sit slow moving sets of chords, subtly changing shape like clouds in the sky or mist over a lake.

Throughout there are references to the role of electronics in everyday life, with chattering loops and bleeps. Marooned feels remote in spite of its squelchy bass, while Axis Perpendicular packs more of a bunch with its offbeat breaks. Avoid is roomy and heavily percussive, while iO also has increased activity. Void and Umbra are both excellent tracks, the latter taking on an eerie edge by the end.

Does it all work?

Yes. Without being too ground breaking, Conforce has a style that is immediately identifiable and extremely listenable. With ambience and energy combined his is a style that works on two different levels for Dawn Chorus.

Is it recommended?

Yes. Anyone following the Delsin label will want to get involved, as it maintains their quality-rich approach.

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Switched On – Steffi x Virginia: Work A Change (Ostgut Ton)

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reviewed by Ben Hogwood

What’s the story?

Steffi & Virginia have been regular collaborators ever since 2011, when their vocal track Yours surfaced on the Ostgut Ton label. I use the term ‘Vocal track’ rather than ‘song’ advisedly, because the two DJs and vocalists find that their vocal work complements the instrumental craft, the two elements becoming inseparable.

Eight years on and their musical chemistry remains, sparking eight track EP Work A Change.

What’s the music like?

Every bit as vital as the pair’s first work. Steffi x Virginia, as the name implies, are an incredibly cohesive unit, finishing each other’s musical sentences on tracks that exist somewhere between techno, electro and pop. They manage to satisfy the elements of each style while being difficult to pin down to a single genre.

Beats bubble below the surface while cool keyboards float above on Be True To Me, which kicks in with a catchy chorus, while the two standouts Help Me Understand and Work The Change have a great sense of urgency. Both exist in instrumental form to show just how good they are.

Sight From Above, meanwhile, has a closer harmony which leads to a warmer sound, while Until You’re Begging has a conversational style over a busy beat. Only Internal Bleeding doesn’t quite hit the spot, though the harmonies are as effective as ever.

Does it all work?

Yes, because the blend of processed electronica with a freedom of spirit is irresistible. Work A Change, Help Me Understand and Be True To Me are big hitters that repay many repetitions (from experience!)

Is it recommended?

Without hesitation. These two spark off each other to brilliant effect, and the natural creation of this album has led to some brilliant vocal and instrumental sparring. It brings forward high quality music with energy and positivity.

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