Category Archives: Switched On

Switched On – Austra: Swan Song (Original Score) (Domino)

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by Ben Hogwood

What’s the story?

It comes as no surprise to learn that Katie ‘Austra’ Stelmanis had her first experience performing in the orchestra pit for Tchaikovsky’s The Nutcracker, performed by the National Ballet of Canada in 1990.

Since then her distinctive voice has been one of the standout elements in the music of her band, Austra, who have made a name for their distinctive electronica, a satisfying mix of pop and 80s-inspired electronica.

Now, though, she turns her attention to solo concerns with a lo-fi set-up. Tasked with setting the musical scene to Swan Song, a feature documentary immersing viewers inside The National Ballet of Canada in its new production of Tchaikovsky’s Swan Lake, she decided to use a single synth, a mellotron and – of course – her voice.

What’s the music like?

‘Ethereal’ is an overused word in writing about music, but it really does apply to Katie Stelmanis and her voice, which she uses to great effect here. It floats on the air in the opening Karen’s Theme, accompanied by the graceful synth lines, responding to the ebb and flow of the dancers. The themes are beautifully characterised, and Stelmanis often uses softly voiced arpeggios on the synth (a Juno-106) to depict the rise and fall of the dancers.

Genevieve’s Theme and Shae’s Theme are relatively muffled but attractively scored, while Siphe’s Theme has a lovely mottled presentation. Robart gives contrast, with gurgling electronics, as do Move To The Theatre and Curtain Call, each dressed with a beautiful vocalise.

The mellotron comes into its own for Corps de Ballet, and with its twisting line gives a good representation of a dancer maintaining their poise. The main number is Bow, whose minimal ideas and probing motif are subtly moving.

Stelmanis’ use of the Tchaikovsky themes is subtle and very clever, leaving an original score whose inspiration sits beneath the surface but has a lasting impact.

Does it all work?

It does. By their nature these soundtracks can be quite fragmented but the sequence here is very satisfying, with some lovely sounds and colours.

Is it recommended?

It is. If you like Austra as a band you won’t need any persuading, though you might be surprised at the extent to which Katie Stelmanis allows her imagination to blossom in what is a striking piece of work.

For fans of… Gazelle Twin, Julia Holter, Laurel Halo

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Published post no.2,103 – Thursday 29 February 2024

Switched On – Karl Bartos: The Cabinet Of Dr. Caligari (Bureau B)

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by Ben Hogwood

What’s the story?

This is described as ‘narrative film music and sound design for Robert Wiene’s classic 1920s psychological thriller’.

It is, in effect, Karl Bartos retracing some of his steps back to when he was in Kraftwerk. Then, he helped to create Metropolis, inspired by Fritz Lang’s 1927 film, but now he goes several steps further to create a whole new soundtrack for Wiene’s picture.

To do it he pulled together a wide array of material from his musical archive, finding snippets that range from classical and Baroque to atonal and musique concrete – in short, creating a musical melting pot to bring the film to life in a musical sense.

What’s the music like?

Enormously entertaining and full of character. Bartos’s love of the film is immediately clear, and no stone is left unturned as he seizes the opportunity to create a fun and colourful score, one that portrays the characters and events in great detail.

There is a dizzying range of colour and styles, showing just how many areas of music Bartos has covered in his musical education and what a grasp he still holds on classical as well as more recent electronic work. The imposing organ of the Prologue sets the tone for scenes that are full of colour and imagination. As we move through the scenes Bartos brings amusement, dread, wittiness, and a macabre madness that gives his jagged motifs a refreshing unpredictability. Sometimes the music sounds like a barrel organ, as on the brilliant scene At The Funfair, which is brilliantly done.

Jane’s Theme introduces a much more tender mood, in contrast to the playful Caligari’s Theme 2 or the brittle piano theme used to depict Caligari’s Deception.

Bartos uses the waltz to really good effect in his portrayal of the different scenes, and the dances of the 1920s are always close at hand. Lunatic Asylum is suitably edgy, the music hanging on the edge, but In Search Of The Truth is the big number where everything comes to a head, Bartos marshalling his forces brilliantly.

Does it all work?

Not always as a listening experience, for some of the scenes are very short and would obviously benefit from the visuals. This is in no way the fault of Bartos, though, who delivers a masterclass of scene setting throughout.

Is it recommended?

Wholeheartedly. It would be interesting now to see if Karl Bartos feels inclined to take his clear aptitude for modern classical music any further, or if he wants to go down more electronic avenues. Either way he has made a colourful, vibrant soundtrack to accompany The Cabinet of Dr. Caligari, and can be proud of the extent to which he brings the mood and characters of the 1920s to life.

For fans of… Kraftwerk, Kurt Weill, Eisler,

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Published post no.2,098 – Saturday 24 February 2024

Let’s Dance – Various Artists: Africa Gets Physical Vol. 5 – Thandi Draai (Get Physical)

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by Ben Hogwood

What’s the story?

Thandi Draai has built a strong reputation as a DJ bringing some of the best Afro house music to the dancefloor, and her contribution to the last in Get Physical’s compilation series continued the good momentum the label have built up.

This fifth volume was actually released in December, but with the nights still long and dark in this part of the world it is a compilation Arcana didn’t want to let slip away.

What’s the music like?

The reason this collection should be praised is of course the music, well chosen and executed, with a number of standout new productions.

Among the best are Draai’s own cuts, headed by the superb Letha with DJ Beekay and the excellent collaboration The Clique, made with Candy Man, Cuebur feat. DJ Clock & Kitty Amor. Draai also turns her hand to one of Get Physical’s biggest hits, Samim’s Heater, in a distinctive remix. BlaQRhythm offers the slightly woozy (in a good way) Insimbi Yamabutho, while Dylan-S & Ed Ward offer the propulsive Phantom, with a fine breakdown.

McK & Nana Atta’s Lungisa is spacey, with an unusual loping break beat that works well, while in contrast Foozak & D.O.A. head for the trancier side of things with Uhula Kweeri, offering some great vocals. Josi Chave & TorQue MuziQ’s Inzangoma, featuring Khokho Madlala, is a powerhouse of a track, but topping these is Africa Get Physical from Suffocate SA and Roland Clark, who delivers a fantastic vocal in praise of the continent and its values. The sentiments – “Let’s all come together so we never have to dance alone” – are spot on.

Does it all work?

It does – Draai’s sequencing is pretty much spot on, and there is rich stylistic variety. Not surprisingly, the rhythmic elements are all on point.

Is it recommended?

Yes – the fifth in an increasingly vital series that is doing a great deal of good for house music. This one has plenty of highs!

For fans of…

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Published post no.2,095 – Thursday 22 February 2024

Let’s Dance – Ash Walker & Amp Fiddler: Afronaught (Ron Trent Remix) (Night Time Stories)

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by Ben Hogwood

What’s the story?

Ash Walker’s Astronaut slipped under the Arcana radar in 2023, so it’s only right to focus on it as its constituent tracks start to get the remix treatment. The choice of Afronaught is ideal, not just because – as the press release states – it flips the title of the album on its head, but because it contains guest vocals from Amp Fiddler.

Amp – Christian name Joseph – sadly left us just before Christmas 2023 at the age of 65, leaving in his wake a stellar discography of solo vocal and band keyboard contributions (notably with George Clinton and Moodymann).

This is what Walker had to say: ‘Having recently very sadly lost a dear friend, mentor, collaborator and huge inspiration of mine – Amp Fiddler, it was very touching to hear how Ron Trent reinterpreted Amp and I’s track together ‘Afronaught’. Label buddy Ron was able to steer Afronaught in a Chicago style, Acid House inspired direction which compliments Amp’s vocal perfectly, giving the track a new lease of life. Amp was such a pioneer and embodiment of Afrofuturism who never ceased to push boundaries, proving that us as black musicians have the power to defy genre and surpass societal expectations. Amp’s spirit will live on eternally, not only through the music he created in his lifetime but also through all the artists he nurtured and influenced worldwide.”

The press release goes on to say that “Ron Trent’s remix marks just the beginning of this journey, a sonic flare if you will lighting up the way for the projects to come”.

What’s the music like?

It’s difficult to imagine a more appropriate mix to mark Amp Fiddler’s passing. Ron Trent delivers a spatial piece of work full of low-end goodness – mellow keys underpinned by a steady, deep kick drum and surrounded by vocal snippets that are easy on the ear. Amp’s voice appears as though in a vision, while the keys flicker in the middle ground.

Does it all work?

It does. All very easy on the ear!

Is it recommended?

It is – a very classy remix and the ideal tribute to a much-missed musical presence.

For fans of… Moodymann, Charles Webster, Carl Craig, Juan Atkins

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Published post no.2,093 – Tuesday 20 February 2024

On Record – Manu Delago: Snow From Yesterday (One Little Independent)

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by Ben Hogwood

What’s the story?

For his new album, percussionist and multi-instrumentalist Manu Delago has teamed up with the vocal ensemble Mad About Lemon and a group of other players to present a concept album.

Snow From Yesterday forms a direct connection with the environment, examining the life cycle in all its stages, in close-up intimacy or panning out for widescreen views of the global climate.

What’s the music like?

This is a thoughtful and thought-provoking album, one that often proceeds like a conversation between composer and listener.

Mad About Lemon help greatly with this, their direct lyrics simply delivered but leaving a mark with unanswered questions and observations. Modern People pits the three part close harmony of the three ensemble members Heidi Erler, Mimi Schmid and Anna Widauer together with handpans, its lyrics already considering the stages of life from when ‘the first chicken laid an egg’. Polar Bear notes of how ‘once upon a time, Greenland was white’. Stay Afloat has a darker global overtone, the vocalists intoning the names of big cities with industrial sounds circling ominously.

Musically it is Delago’s widest ranging record yet. As well as the vocals there are colourful contributions from brass ensemble, where Dominik Fuss (flugelhorn), Alois Eberl (trombone and bass trumpet), Christina Lachberger (trombone) and Simon Teurezbacher (tuba) add rich colours. These are often successful, with intricate part writing on Ode To Earth, and a softly voiced coda to Paintings On The Wall beautifully realised. Just occasionally, however, the lines can meander, as they do on Oxygen.

Clarinettist Christoph Pepe Auer adds soft tones to Little Heritage, where he is complemented by the sounds of a baby, while double bassist Clemens Rofner adds greater depth to the sound. Yet perhaps the most affecting track is the simplest, Immersion pitting the handpan against electronics to lasting effect.

Does it all work?

Mostly. On occasion – and especially if the listener is not in the mood – the sentiments can sound a little precious. But this is a very carefully thought-out album, and one where Delago’s feelings about the earth and its direction are realised with a great deal of emotion. The performances are on point, too – Mad About Lemon sing beautifully, and the instrumentalists show a rare sensitivity in their playing.

Is it recommended?

It is. This is Manu Delago’s bravest artistic statement to date, an ambitious work that leaves a powerful impact. A record to grow with and to return to, that’s for sure.

For fans of… Anoushka Shankar, Ólafur Arnalds, Portico Quartet

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Published post no.2,085 – Monday 12 February 2024