Category Archives: Switched On

Switched On: Sean La’Brooy – There’s Always Next Year (Analogue Attic)

Posted on by
Reply

by Ben Hogwood

What’s the story?

There’s Always Next Year has a very English feel to its title, though its roots lie more accurately in shattered sports fantasies. It is, says Sean La’Brooy, ‘a tribute to the misguided hopes and dreams of a sports fan. Field recordings and commentary from a range of codes weave between silky saxophone lines and piano chords in what is a textbook showcase of the classic Analogue Attic downtempo and early evening sound we’ve come to know.’

It is La’Brooy’s second solo release, a complement to his work in tandem with Alex Albrecht as one half of Albrecht La’Brooy.

What’s the music like?

One of those silky saxophone lines can be heard early on in Offseason Getaway, courtesy of Greg Carleton – who allows the instrument to wander above active yet sensitive drumming from Leo Yucht.

The music has a wider, outdoor span thanks to La’Brooy’s roomy production – and that comes into its own for the beautiful scenes painted by Curse and 3rd and 28, where the commentary field recordings only heighten the ambience. Carleton returns for a delightfully lazy contribution to the atmospheric 140 to the Pin, where the pace quickens and the style switches to deep house. There it stays for the much busier Let, with bell-like melodic loops and urgent beats.

Finally we return to a trio with Carleton and Yucht for the regret-laden title track, with airy consolation found from keyboards too.

Does it all work?

It does. Consolation for sports fans is close at hand!

Is it recommended?

Very much so – if you’ve been following La’Brooy or Albrecht, you will find much to enjoy here. It is music to slow the pace and soothe the fevered brow of modern life.

Listen

Buy

Let’s Dance – Defected presents House Masters: Luke Solomon

Posted on by
Reply

by Ben Hogwood

What’s the story?

Luke Solomon has been making house music for getting on 25 years, and for much of that time has been running the Classic label with Derrick Carter. With their concern now more intertwined with Defected, it is great to see him added to their House Masters roster – which has built up a formidable collection of US heavyweights and label-honed talent.

Recently Solomon has contributed to albums by Beyoncé and Honey Dijon, while honing his craft as a remixer – and this 35-track strong compilation brings that discipline together with original tracks.

What’s the music like?

Excellent – very danceable and a lot of fun. Solomon has been a consistent source of good time house music since he started making it, and this selection of tunes show just how versatile he is, too.

The ability to make listeners and dancers alike smile frequently is clear throughout, his sense of humour bubbling just below or above the surface a lot of the time. Highlights include a brilliant take on Powerdance‘s A Safe And Happy Place, and two mixes of Isolée’s Beau Mot Plage – that show off two fresh strings to his bow. There is a lovely disco infusion on Freesoul‘s Sane/Eyes and a super low slung groove for Horse Meat Disco and Kathy Sledge‘s Jump Into The Light. Light You Up – featuring Queen Rose and Amy Douglas – will put a smile on anyone’s face, with its uplifting lyrics, as will the Amp Fiddler-fronted Come On Over and Jon Marsh-featuring Lonely Dancer.

Does it all work?

It does indeed. Defected have pulled together the ideal career retrospective, but at the same time have been keen to emphasise that Solomon is still very much at the top of his game.

Is it recommended?

Enthusiastically. Luke Solomon has been at the forefront of UK house music for the last three decades, and his contribution to its excellence is heartily applauded here. He makes house music in a consistently inventive way while keeping to first principles, making it fun and entertaining. Go forth and purchase!

Listen & Buy

New music – Bruce Brubaker: Eno Piano – Music for Airports, 2/1

Posted on by
Reply

American pianist Bruce Brubaker is one of those artists whose every move is worth monitoring, for his musical quests bring many rewards.

Brubaker is perhaps best known for his work with the music of Philip Glass, John Cage and Meredith Monk, but now he makes a very intriguing turn in the direction of Brian Eno, creating an album for the InFiné label that will include a selection of ambient music, including Music for Airports.

The press release asks a question: “Can a single instrument convey ambient music originally made through studio techniques and tape loops? Eno Piano is a companion to Bruce Brubaker’s acclaimed album Glass Piano (2015) — even the two album covers are companions. Named by Pitchfork “one of the most exciting pianists in the contemporary American classical scene,” Brubaker, in Eno Piano, shows that just as the studio can be a musical instrument, a single musical instrument can be a studio.”

Have a listen below and see what you think:

Switched On: Thomas Fehlmann – Umdrehen (Edition DUR)

Posted on by
Reply

by Ben Hogwood

What’s the story?

Umdrehen is a word that denotes a twist, a turning around, a reverse – and the name of Thomas Fehlmann’s new album.

It is effectively a title that gives Fehlmann free musical rein on a 40-minute set of musical experimentation. He refers to his approach as ‘generative music’, with the element of chance playing a role in his choices.

What’s the music like?

Not as playful as the above description might suggest. In fact some of this album operates under a dark cloud, wrapped in an ambience that can be cloying.

That said, there is a good deal of invention here that makes its best impression on headphones. Having established the dark, brooding textures, Fehlmann adds a shuffling beat and semi-industrial field recordings to Gelbe Kurve. There are some unnerving moments, such as Steinwurf, while Doppelherz opens out to a much wider expanse, offering a halo of light around the music. By contrast Feuchter uses mottled chimes, which prove to be comforting yet weirdly eerie. The delicate exchanges of Gehupft suggest the chance elements more, with a cold intimacy, while the soft hues of Prenzlau an sich are complemented with foreground chatter.

Does it all work?

Largely – though the feeling does persist that Fehlmann is in search mode, never quite pinning down a style of music to settle on. Because of that Umdrehen has a fleeting, fitful ambience.

Is it recommended?

It is – and Umdrehen is certainly an interesting addition to Fehlmann’s impressive discography, if not perhaps the most successful.

Listen

Switched On: Anthony Wilson – Collodion (Colorfield)

Posted on by
Reply

by Ben Hogwood

What’s the story?

Anthony Wilson has a most impressive musical CV. While big band jazz played a pivotal role in his musical upbringing, he also has a great deal of experience in pop music, playing with Paul McCartney, Leon Russell, Randy Crawford and Willie Nelson among many others. To an extent, that is the ‘day’ job – for as a composer Wilson has an experimental and exploratory approach, looking for new sounds and collaborators.

To that end his new album Collidon finds him trying out new sounds and instruments in the company of fellow Colorfield luminaries Anna Butterss, Daniel Rotem, Mark Giuliana and Rob Moose. The producer is Pete Min – and Wilson helpfully lists all the instruments used in the recording (including the keyboards) on the album’s Bandcamp page.

For those wondering, as I was, what ‘collodion’ is, it is a highly flammable solution used in the manufacture of photographic film, or in medicine for sealing wounds.

What’s the music like?

Open minded – but Wilson is not a composer to lose his focus or indulge himself by seeing how many genres he can tick off for the sake of it.

Instead, we are treated to an album that is an exploration for the performers and the listener. Much of it has an instinctive feel, but this is the environment in which Wilson is most effective, with a sixth sense that tells him when to stick and when to twist.

The balance of kinetic energy and contemplation is finely achieved, allowing Wilson time out on Heart Whispering but bringing urgent dialogue to The Daughters Of Night, an atmospheric compilation of nocturnal noises and melodic snippets.

The piano often acts as the fulcrum in his music, whether in the stately chords of Keeping, complemented by more mysterious gamelan sounds, or by providing the harmony for Arrival At Kanazawa, which develops above an urgent drum track to express profound thoughts on the guitar. Dream Oracle adds a breathy tenor saxophone (Daniel Rotem) to its explorations, while the title track features a beautiful, silvery string arrangement executed by Rob Moose.

Does it all work?

Yes – though the feeling persists that Wilson could have enhanced the smaller tracks further, such as the glittering textures of Divine One.

Is it recommended?

It is, enthusiastically. An engaging and sonically rewarding piece of work.

Listen

Buy