Category Archives: Switched On

Switched On – Unstern: Es Geht Der Tag (Alter)

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by Ben Hogwood

What’s the story?

Unstern are described in the press release for this album as a ‘devotional music outfit’, a label that makes perfect sense when you listen to their music.

At its heart are the workings of ambient artist Arzat Skia and pianist Leo Svirsky, with studio collaboration from Civilistjävel!, Skia and Stefan Betke. While leaning heavily on electronics there is a good deal of acoustic input, from two pianos ‘refracting across the stereo field, processed recordings from the Peruvian Amazon, bowed percussion by Greg Stuart, alongside strings and renaissance meantime organ recorded at Orgelpark in Amsterdam.

The idea is to produce an audio illusion, where incremental repetition leads to an eventual departure from the music heard at the start, inspired by but not limited to the craft of Morton Feldman. The album title – translating as The day goes – links up with that.

What’s the music like?

Es Geht Der Tag works on several levels. As background music it is sonorous and sublime, its foreground giving a deep sense of perspective made even more rounded with the bass of the opening track, whose curious title – All the Kingdoms of the World in a Moment Of Time – suddenly becomes clear. It is as though ancient and modern civilizations are aligning in the same place, and the wide range of the spectrum gives it a huge spatial arc.

And yet it works as music without any of the floral descriptions, slow moving progressions that are both soothing and energising. We hear the reassuring tread of the organ pedals during Of Fire And The Many-Eyed Wheels, with thicker clouds of ambience up top and an insistent, throbbing percussion right at the far end.

Malign Star has a slow moving stillness and distance, cast by what sounds like a muted trumpet, ending up as a disparate chorale. In The Roar of Your Channels has a colder, static ambience, but Es Geht der Tag sur Neige introduces heavy footprints and an even colder outlook, the sense of snow beneath the feet difficult to shake off! 

Does it all work?

It does. You can approach this music from several directions – from the thick ambience of GAS and the like, the reserved yet intense writing of Morton Feldman, or the more processed chillout music of Chicane. All are valid departure points to end up in an extremely chilled-out place.

Is it recommended?

It is. This is a rather special album, its mixture of ancient and contemporary creating a strange tension but ultimately a wonderful sense of calm. Listen and fall under its spell.

For fans of… GAS, Loscil, Morton Feldman, Arvo Pärt, Sofia Gubaidulina

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Published post no.2,234 – Tuesday 9 July 2024

Switched On – Emika: Haze (Emika Records)

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by Ben Hogwood

What’s the story?

From Emika’s own words: “I’ve had this sound in my head for many years, this record saved my life”.

Haze finds Emika unifying a lot of the elements that have been present in her music so far – in the words of the Bandcamp commentary, ‘a blend of her neoclassical descending melodies, signature breathy, female vocals, icy pianos, heavy sub-bass vibrations and layered Hazy beats. Let’s call it Emika’s love-affair with the Future Garage genre.’

What’s the music like?

This is music to dive into, as Emika hits the sweet spot between pure ambience and busy musical activity. The latter brings positive energy through glitchy beats, murmured vocals and piano-driven motifs, often manipulated in music that wraps the listener up like cotton wool.

Emika cleverly weaves in thematic unity between the pieces, with slowly descending motifs that are presented with different backdrops or energy, the beats usually moving quickly and delicately in the middle ground.

(star key) is a beauty for the morning after, the familiar descending motif given fluttering beats and expansive production for company and setting the mood for the rest of the album. The breakbeats are crisply executed, reminiscent of Bicep or Burial but striking out individually too.

As the album progresses the pieces get shorter, their one-word titles (Ache, Shards, Rain, the beat-driven Waltz), are borne out in music of descriptive, cold elegance. Smoke is a beauty, with chord progressions of frozen beauty, while Writer exerts thoughtful arpeggios and breathy vocals that float on air. Low End feels like a piece of ‘Netflix noir’, and indeed much of the music would be very much at home providing the soundtrack for an Alex Garland series.

Does it all work?

It does. This is atmospheric music, perfect for mindful contemplation but with plenty of energy to reward foreground listening.

Is it recommended?

Very much so. Emika is one of those consistently versatile artists who is often on the move in a good way – and that is certainly the case here. Lively yet ambient, Haze is the ideal antidote to the overexposure and overstimulation given to us by the modern world.

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Published post no.2,230 – Friday 5 July 2024

Switched On – James Devane: Searching (umeboshi)

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by Ben Hogwood

What’s the story?

James Devane has been busy – but along with his personal investment comes music of chance.

In his own words: “These recordings are the result of chance. Using hours of source material, everything was “chosen”, manipulated, and assembled at random via custom software without concern for key, tempo, measures, or rhythm. A search button and a save button.”

What’s the music like?

Consistently good – with a wide range of sonic panoramas as the album unfolds. The glitchy rhythm of Kilter proves to be rewarding, with a spatial backdrop. On One Place he puts the squeeze on the melodic material, and the same with the hi hat appropriation on No More No Less. Bottom Dweller is surprisingly ambient, while Vascai has a fulsome presence.

As part of the varied emotional backdrop, Maybe Tomorrow is a bassy beauty ending in a rich pool of sound, before the dubby Last Strut. Lights Down Low is heavier and bassy but atmospheric with it, while the booming Ending is almost too oppressive but signs off in style. 

Does it all work?

Yes – a wide variety of styles for sure, but brought together in a way that makes Searching a coherent album.

Is it recommended?

It is. James Devane proves himself to be a highly versatile producer, traversing a number of contrasting moods through this album. It proves extremely effective, a really impressive addition to the canon.

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Published post no.2,229 – Thursday 4 July 2024

New music – Bruce Brubaker: Eno Piano 2.0 (InFiné)

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by Ben Hogwood

One of the standout piano albums of last year was Bruce Brubaker’s Eno Piano, a reduction of some of the ambient master’s work for solo keyboard – about which Brubaker and Arcana had a very enjoyable conversation last year.

Now we bring news of a sequel later in the year, with Eno Piano 2 due to be released on 25 October. It is prefaced by a radio version of 1-1 from Music for Airports, which will no doubt be made available soon. In the meantime, you can enjoy being reacquainted with the full version below:

Published post no.2,216 – Monday 1 July 2024

Switched On – BUNKR: Antenne (VLSI)

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by Ben Hogwood

What’s the story?

BUNKR‘s third album is centred around Antenne, a 24-hour pirate station transmitting instrumental music only, “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 commentary goes on. “Who or what was behind Antenne we may never know; without doubt the unknown makes it all the more alluring. But this album serves to keep the memory of Antenne alive along with the countless other faceless pirate stations from the golden era of electronic music. Just maybe those radio waves continue to hurtle through space like gradually decaying echoes from a once brave new world, readying to connect with our brothers and sisters on the back side of the sun.

Antenne transmitted and informed, we listened and absorbed.”

What’s the music like?

The concept is an ideal one for BUNKR’s music – which could indeed have been teleported from 1996 – but has certainly come via a contemporary mind that knows how to make things fit in the modern world. Antenne flows beautifully, like one of those DJ sets, with BUNKR – aka James Dean – securing music of great fluidity and no little energy.

The beats have more breaks this time round, and his music feels faster, the likes of I Feel Eye See, Controller 29 and Nectar Rushes tearing up ground with very different beats, as they cleverly and energetically intertwine their loops. There is still room for the slower atmospheric grooves we know he can produce, Ceres Outpost and Waiting In Tofino the pair of beauties appearing on here. Meanwhile Oriam Speedway works intricate bleeps and percussion into formation.

Does it all work?

It does. BUNKR’s music is as expressive as ever, the moody soundscapes painting many a picture – and working so well in instrumental form. The greater variety of beats is the icing on the cake.

Is it recommended?

Enthusiastically. James Dean is a prolific writer – this is his third long player in five years – but each one adds a thrilling chapter to what is turning into a compelling story. If atmospheric electronic grooves are your thing, then you need look no further.

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Published post no.2,224 – Saturday 29 June 2024