Category Archives: Switched On

On Record – Web Web: Plexus Plexus (Compost Records)

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by Ben Hogwood

What’s the story?

The prolific Munich group Web Web here notch up their sixth album in seven years, described on their Bandcamp pages as “more psychedelic, sometimes more krauty than before”.

This time the group comprise Roberto Di Gioia (Rhodes, Fender Precision Bass, Moog, Mellotron, percussion), Christian von Kaphengst (Fender Precision Bass, Rhodes), Peter Gall (drums, percussion, Fender Rhodes) and Tony Lakatos (tenor saxophone, flute), with the core members often switching between instruments.

Web Web were joined by a guest for the recording, guitarist JJ Whitefield, while Michael Reinboth, the Compost founder, is executive producer.

What’s the music like?

The psychedelic elements are quickly evident in the lovely, grainy sound of Apotheosis, where Whitefield’s distorted guitar asserts its presence. The contrast with The Madness of Ajax is a marked one, as Lakatos’ flute comes to the fore.

The organ-led Mysia travels through time, with murky distortion, while there is a wonderful version of Moondog’s Bird’s Lament, a spontaneous suggestion from Reinboth that features a rather beautiful sax solo from Lakatos.

There is indeed a healthy infusion of space jazz and Krautrock, found especially on tracks like Nyx, where a heady keyboard line is spun out over reverberant drum track and appealing weirdness in the middle ground.

Does it all work?

It does indeed, for the players pack a lot into a short space of time. None of the tracks outstay their welcome, the result being focused playing that creates really appealing moods and melodies.

Is it recommended?

It is. Plexus Plexus feels like a time capsule, recorded recently but beaming some of the best bits of the 1970s in through its sessions.

For fans of… Jazzanova, Mr. Scruff, Tosca, Boozoo Bajou, Four Hero

Listen / Buy

Published post no.2,546 – Tuesday 27 May 2025

Let’s Dance – Alexander Flood: Artifactual Rhythm (Atjazz Record Company)

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by Ben Hogwood

What’s the story?

Following the singles Life Is A Rhythm and Can’t Get Enough, Alexander Flood delivers a new album to build on their promise. The idea behind Artifactual Rhythm is that it should “present a re-interpretation of club and DJ music through the lens of a live band with a jazz edge”, bringing a more human element to proceedings.

It was recorded live in Naarm / Melbourne, with a band including Erica Tucceri (flute), Finn Rees (keyboards) and Dylan Paul (bass), as well as guest vocals from Cazeaux O.S.L.O, Kara Manasala and New York’s Vivian Sessoms.

What’s the music like?

Summery! This is a set of consistently good songs, on a really winsome, summery house vibe with piano high in the mix. Flood definitely knows what works, and hits the spot on many occasions – with a good bounce to the beat and a plethora of sunshine vocals.

The breezy improvisations are led by flute and dreamy keyboard, with the live feel paying dividends on the likes of Artifact, where a bit of jazz (but not too much!) lifts the spirits beautifully.

Life Is A Rhythm is a classy deeper number, with a strong guest spot from Cazeaux O.S.L.O. Vivian Sessoms is terrific on Can’t Get Enough, but topping the lot is Vibraçâo, a samba fest strewn with broken beats and packed with feelgood vibes.

Does it all work?

It does – no pretence, this is an album that delivers on its promises!

Is it recommended?

Most definitely – an album for holiday season that should be high on the packing list!

For fans of… Masters At Work, Joey Negro, Shapeshifters, Incognito

Listen / Buy

Published post no.2,542 – Friday 23 May 2025

Switched On – Loscil: Lake Fire (Kranky)

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by Ben Hogwood

What’s the story?

Loscil’s music has always spoken vividly of its surroundings, bringing the wide-open panoramas of Vancouver and British Columbia to vivid life on even the smallest sound system. Here, Scott Morgan’s alias brings sonic despatches from the front line with a striking account and observation of the recent wildfires in the region.

What’s the music like?

As dark and thick as the clouds of smoke that were hanging over British Columbia when this album was made. Ash Clouds is the most explicit expression of the darkness that developed, with a deep chord that barely moves, hanging over the ground.

That isn’t to say that Lake Fire is depressing, mind, as there are shards of bright colour that draw the attention in spite of the thick, uneasy ambience behind. This is evident in the closing of Spark, where dark chords, low in the spectrum, are at odds with brighter chimes at the top, suggesting light peeking through the clouds.

There are some incredibly deep textures on Arrhythmia. Bell Flame flickers, with sonorities similar to a pipe organ in the treble but again with thick, almost oppressive drones beneath. Candling has an improvisatory feel, melodies rising out of the mists like peaks of a flame before subsiding again. Most moving of all is the closing title track, barely audible at first as it steals in on a breath of wind but soon growing in power, the dense cloud sweeping all before it – before retreating and fizzling out as soon as it began.

Does it all work?

It does – and in the process offers an affecting counterpart to the clarity of albums like Sea Island.

Is it recommended?

It is. If you take in the album with its accompanying images and video content, Lake Fire is an intensely moving experience, a tale of man-made and enabled destruction that is truly heart-rending. And yet within the depths of this music there is still some elemental hope, and that shines through in Loscil’s remarkable music.

For fans of… Tim Hecker, Stars of the Lid, Machinefabriek, Fennesz

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Published post no.2,540 – Wednesday 21 May 2025

Switched On – AVAWAVES: Heartbeat (One Little Independent)

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by Ben Hogwood

What’s the story?

This is the third album from the duo of Anna Phoebe and Aisling Brouwer, who have recently bolstered their reputation in soundtrack scores for Savage Waters and The Buccaneers.

They describe their first album since 2021 as “peeling back all the layers we cloak ourselves in until there is nothing left but the source, and discovering the strength that resides there. We wanted this album to feel raw, honest, and intuitive. There are themes of resilience, determination, grit, and an optimism in forever chasing the dawn after dark. It’s the bursting of bubbles and realising how much lighter everything feels without them.”

The single-word track titles are clues to the directness of expression the pair use, and on occasion the pair are complemented by vocalist Imogen Williams.

What’s the music like?

There is a freshness to AVAWAVES that is immediately felt on headphones, which indicates their wish to peel back the layers is an immediate success. The listener is led into wide open spaces, set down and allowed to enjoy the fresh musical air, free of any pretence or expectation.

The title track is purely and deeply felt, Phoebe’s violin played without vibrato and supported by calming piano – and it sets the tone for a purity running throughout the album. Mood secures a range of colours through its imaginative scoring. The violin uses pizzicato, double stopping and subtle inflections to the phrasing, while the doleful piano line is complemented by fuzzy electronics and a solid, quick moving beat. It is, as the pair say, the soundtrack to an imaginary film of the listener’s choosing.

Escape and Raindrop have strong Celtic flavours, the former given a winsome violin line and the latter soft vocals and a free spirit. Crush is synth-based and quite trancey, while Rumour brings the piano forward, its textures mottled and weather-beaten. Sleep Tight is a consoling song, the only one on the album, and is beautifully sung.

Does it all work?

It does. The music builds up in layers but never gets too much – or too cheesy. When used, the beats are especially good, as in the evocative Nightdrive.

Is it recommended?

It is. Heartbeat is an appropriate title for the album, as AVAWAVES make music from the heart, notable for the purity of its expression. Emotional and evocative, it is a rather wonderful listen.

For fans of… Erland Cooper, Ólafur Arnalds, Hauschka, Max Richter

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Published post no.2,535 – Saturday 17 May 2025

Switched On – BUNKR: Antenne Remixed (VLSI)

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by Ben Hogwood

What’s the story?

BUNKR’s third album Antenne, released nearly a year ago, was based on the radio station of the same name “devoid of any human voice to provide us with clues. No big ups for the SW9 crew, no ads for the turbo-sound rave with safe security.  The 97.9 FM frequency was vibrant with all manner of cosmic, unending playlists of widescreen techno, breakbeats, ambient washes and occasional forays into obscure German synth music”. The producer – aka James Dean – brought it to life with expressive, moody soundscapes painting a series of atmospheric pictures. Each was ripe for a remix – and VLSI present here a series of interpretations of a number of tracks from the album, each one built from the lost audio files and recordings of Antenne broadcasts.

What’s the music like?

Consistently absorbing. There is a lot of busy beat making going on here, with the emphasis tending to be on the rhythm section over melodic input. However there was already plenty of that in the original BUNKR material, so the combination works really well.

Warrington Runcorn New Town Development Plan kicks things off with a busy mix of Oriam Speedway, beats chattering down the airwaves above a longer, drawn out line that gives plenty of space.

There is a similar urgency to the Mattr remix of the same track, while the beats get even more prominence from Polyop, and the clattering set of percussion used in the remake of I Feel Eye See. Faex Optim’s take on this track is a widescreen winner, backed with a heavy break, while Alphabox gives a nice, dreamy contrast towards the end of Aquatakt.

Echaskech save some of the best moments until last, their studied and rather majestic account of Nectar Rushes bringing cool ambience and space.

Does it all work?

It does – the only regret being there aren’t a couple more remixes to enjoy. Yet this is a really strong package that gives a great variety of beatmaking.

Is it recommended?

It is. The remix album really should be employed more, for it is a great way of seeing how producers work and getting another view of their process. This group is an example of just how effective the process can be.

For fans of… Echaskech, Fluke, Ulrich Schnauss, Leftfield, Hybrid

Listen / Buy

Published post no.2,533 – Thursday 15 May 2025