Category Archives: Switched On

Let’s Dance – Simon Field: Panda (Basement Records)

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by Ben Hogwood

What’s the story?

Panda is the new album from Oslo’s Simon Field, whose nine tracks look towards classic Chicago house for their inspiration while keeping a close eye on the underground scene in the Norwegian capital.

Deep, tech vocal house is the name of the game for Field, who has a number of key releases in his locker for labels such as Armada, Universal Music, Sony Music Ultra, Perfect Havoc and his own Basement Records, which he established to focus on underground house music with no need for commercial gain. Basement Sessions is a club series in Oslo, celebrating the underground sound.

Guests include Delphi Drive and Blichfedlt.

What’s the music like?

Simon Field has a persuasive way of blending deeper textures and bass with upfront four to the floor beats, making some very danceable grooves in the process. A little goes a long way in his music, supported by fulsome kick drums and subtly funky bass loops, as in One More Time (For The Panda).

The album takes off with PanAm, its raucous spoken word intro complemented with a cool riff, while by contrast F With The Energy is deep and dark, laced with sharp edges. Here With Me taps into those same qualities, with a cool vocal, as does the warm weather winner Not Even A DJ. Meanwhile Gone Gone Gone gets more upfront movement from its excellent riff.

The guests work well, Blichfeldlt panning across the stereo picture during Michael Caine, and Just Martina capitalising on Field’s rolling beats.

Does it all work?

Pretty much – Field’s dancefloor methods are effective throughout.

Is it recommended?

Yes – no padding here! Simon Field’s album is ripe for the deeper house music dancefloor.

For fans of… Luke Solomon, Heller & Farley, Camelphat, Mark Knight

Listen & Buy

For more information on the album and to explore purchase options, visit Simon Field’s website

Published post no.2,299 – Thursday 12 September 2024

Switched On – Jon Hopkins – RITUAL (Domino)

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by Ben Hogwood

What’s the story?

RITUAL, the latest from the ever-ambitious Jon Hopkins, is described as ‘a 41-minute electronic symphony built from cavernous subs, hypnotic drumming and transcendent melodic interplay’.

The project was conceived in 2022, when Hopkins received a commission for London’s Dreamachine experience. He wrote a shorter piece that became the cell from which RITUAL grew, with the help of collaborators Vylana, 7RAYS, Ishq, Clark, Emma Smith, Daisy Vatalaro and Cherif Hashizume.

What’s the music like?

RITUAL is a compelling piece of work – and a mindful treat. Best experienced in a single sitting, it grows from a small cell, a single pitch of ‘G’ – and a very similar opening to that of friend Brian Eno’s Reflection album.

Soon the differences become more pronounced, and Hopkins gathers the forces at his disposal – wordless voices, sonorous bass, slow moving drones at both ends of the audible scale, and rising energy levels, such as on the palace / illusion section, where a steady throb emanates from the bass drum.

The music expands still further, reaching its ultimate apex on solar goddess return, where the bass is joined by a bold treble and a rush of white noise, like walking outside and standing under a starry sky. Soon the bottom drops out of the sound, the listener left suspended through dissolution, before nothing is lost offers consolation through its piano loop.

Does it all work?

It does – thanks to a firm grip on the structure, Hopkins allowing the music to move at a natural pace.

Is it recommended?

It is. Jon Hopkins is becoming a very impressive long form composer, his credentials surely leading him towards a full-blown orchestral piece before long, bigger even than the music heard in his BBC Proms concert in 2023. RITUAL works both as a serious piece of keenly structured music, and as a musical mind cleanser. A very fine piece of work.

For fans of… Ólafur Arnalds, Jóhann Jóhannsson, A Winged Victory For The Sullen, Max Richter

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Published post no.2,295 – Sunday 8 September 2024

Switched On – Tycho – Infinite Health (Ninja Tune)

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by Ben Hogwood

What’s the story?

San Franciscan producer Scott Hansen returns to his Tycho alias for a first long player since 2020’s Simulcast.

The aim this time around was, in his words, “about creating a space for healing and reflection, a mantra for spiritual, emotional, and physical healing. At the end of the day, all we really have is our health – both physical and mental – and we wish infinite health to our family and friends. So in those ways, infinite health is a salutation and an imperative.”

The synths and samplers still form the basis for the Tycho sound, but Hansen has looked to use acoustic topping in creating an individual sound, helped by regular collaborators Zac Brown (guitar), Rory O’Connor (drums) and producer Chris Taylor.

What’s the music like?

Tycho have always made beautiful sounds that somehow capture the wide expanse and warmth of their Californian home – and Infinite Health is no different.

This is an upbeat album, full of energizing, positive grooves and laden with hooks. Hansen’s breezy textures, helped by Grizzly Bear’s Taylor, are a treat, especially on their own favourite, the single Phantom:

The punchy groove they achieve here is used to good effect elsewhere, with breaks successfully employed alongside springy, four to the floor rhythm tracks. Restraint is a dreamy reverie, as is the lovely Green, dressed with earthy drums, while Devices and DX Odyssey are more of the electro-disco school.

For this author the best track is Totem, a really catchy acoustic-led number that is fertile in its invention and packs a good groove.

Does it all work?

It does, comfortably – with Infinite Health having all the positive energy and breezy textures of previous releases, while facing firmly forward in its musical outlook.

Is it recommended?

It is – Tycho bring a burst of late summer sunshine to the party, dressed in production you want to dive into. First class chillout music.

For fans of… Ulrich Schnauss, Explosions In The Sky, Rival Consoles, Minotaur Shock

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Published post no.2,293 – Friday 6 September 2024

Let’s Dance – Junior Sanchez: Songprints, Vol. 1 (D4 D4NCE)

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by Ben Hogwood

What’s the story?

Junior Sanchez is something of an unsung star in the world of house music, making quality productions since the 1990s and collaborating with the likes of Daft Punk, DJ Sneak and Roger Sanchez – to name just a few.

Collaboration is the name of the game this time around, too, with a host of vocalists lending their pipes to a set of songs the New Jersey DJ began during lockdown. The project has executive production from Dallas Austin, marshalling the eight guest singers into a set of productions compressed into radio edits and aimed squarely at the dancefloor.

What’s the music like?

Sanchez has struck gold here, his craft evident in all nine of the grooves on show – and with a series of superb, floor filling beats.

The album sets out its stall with So Hype, its deeper beats topped by excellent vocals from Mýa, and sets the listener down in a heap some 40 minutes later having danced and sung themselves to a standstill. This is thanks to songs like Higher, where Dawn Richard gets higher than anyone else to deliver a brilliant and catchy song.

Drip is enjoyably saucy, with lots going on in the company of Johnny Apollo and Cookiee Kawaii, while I Need More – with the brilliant Darlene McCoy – is a bouncy number. Sanchez uses solid four to the floor beats throughout, each lifted by fluid bass lines and quality house music production.

Does it all work?

It does. The quality level barely lets up, partly because of Sanchez’s skilful use of guests – and each voice brings a fresh perspective to his music.

Is it recommended?

Enthusiastically. Sanchez deserves a great deal of kudos for this album, which reinforces his credentials as one of the leading lights in house music. Great songs, brilliantly executed.

For fans of… Luke Solomon, Purple Disco Machine, Tensnake, The Juan Maclean

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Published post no.2,287 – Saturday 31 August 2024

Switched On – Ark Zead – Niptaktuk (Glacial Movements)

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by Ben Hogwood

What’s the story?

Ark Zead is an artist shrouded in mystery. Nothing is known about the composer – other than Glacial Movements head Alessandro Tedeschi taking delivery of ‘seven ethereal soundclouds that drastically lowered the temperature by several degrees’.

From Ark Zead themselves: “I am a gong and Tibetan singing bowls player, interested in vibes in a very usual way. But I felt inspired when I faced the very hostile cold in Canada. I looked for stories about exploring these lands and the people who live there. I then modified my vibe sounds with computers and synthesizers to describe the state of isolationism you have to reach to enjoy the beauty of the true North.”

What’s the music like?

In a word, chilly! The right conditions are needed to experience the best of Ark Zead – an environment where you can hear as much of the audio spectrum as possible, taking advantage of some of the low bass drones that characterise this music, and also the subtlety of movement that takes place. The press release says as much: It is highly recommended to listen to Niptaktuk at night, in a quiet environment.

The music is incredibly cold to the touch – the icy wind that blows through Unnuaq chills the bone, and shows this music as equal parts ambient and unnerving. At times there is consonant harmony, but elsewhere there is slight but lasting discord that creates a heavy atmosphere, laden with dread.

The gong and singing bowls are used to great effect on Sikinik, while by contrast Båken Nunatak is laden with thick ambience. A vast wind is summoned on the title track. Ultimately this is music of greatly immersive ambience, a chance for the listener to put all else aside and lose themselves in the slow but inexorable progressions crafted by the composer.

Does it all work?

It does – especially if you are familiar with the Glacial Movements output, as that will help prepare you for the intensity of ambience that Ark Zead achieves.

Is it recommended?

Yes. Ark Zead is able to describe the weather in musical terms, with sounds so cold you can barely feel your fingers. A truly immersive experience, and one that is both cleansing and disarming in equal measure. Just like the cold.

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

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Published post no.2,278 – Thursday 22 August 2024