Category Archives: Switched On

Switched On: James Heather – Reworks Vol. 2 (Ahead Of Our Time)

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by Ben Hogwood

What’s the story?

James Heather’s Reworks sequel is another tale of personal connections. The pianist has returned to his contact book and used his musical instincts to invite a bevvy of artists, bands, ensembles and composers to contribute once again, reworking tracks selected from his last album Invisible Forces and the two Modulations EPs.

Because of Heather’s open minded musical approach, these incorporate a wide variety of styles, including classical, jazz and electronic music from ambient right through to rock – and even including the poet Roger Robinson. The selections also act as something of a musical biography, with the choice of Mogwai reflecting a transformative experience Heather experienced at the age of 21.

There are eleven tracks in all, sequenced logically, reflecting not just Heather’s love of the piano but the way he has channelled all sorts of musical thoughts and styles through it.

What’s the music like?

There is a captivating array of styles and approaches on Reworks Vol.2, which becomes the sort of collection you might expect from a label or a DJ. The responses to Heather’s music range so widely in approach that the piano often plays second fiddle to other instruments or styles – but when the instrument does appear it is all the more prominent for it.

As a contrast we get studies in drone from KMRU, a fuzzy reworking of Ancestral Future Now, and an expansive piece of work from Italian composer Abul Mogard as he refashions Balance. Coldcut, too, contribute a lovely piece of ambience with their wispy, intensely calming interpretation of Passing Soul.

There is a particularly beautiful vocal in Nailah Hunter’s take on Oizys, complementing the expressive piano line, while Meant To Be is turned on its head with an acappella version from Voces8, initially restrained but powerfully moving. Meanwhile Roger Robinson’s contribution brings a whole new dimension to Hidden Angel, in the company of Penelope Trappes and Specimens.

At the other end of the energy scale, Ishmael Ensemble bring a percussive workout to their interpretation of Invisible Forces, while Mogwai’s starry-eyed take on In Your Spirit is both woozy and beautifully lit. A violin on the wing raises Alexandra Hamilton-Ayres rework of Ultraviolet to the heights, while the collection ends with a reflective Immortal Beloved from Freya Arde.

Does it all work?

It does. James Heather’s open musical mind has yielded a fascinating set of new approaches that show just how versatile his music is beyond the piano.

Is it recommended?

Very much so. The piano may be James Heather’s first love, but Reworks Vol.2 shows how his music stretches well beyond the keyboard.

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Switched On: Tristan Arp – The Self Elastic (SLINK)

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by Ben Hogwood

What’s the story?

Tristan Arp switches labels for this four-part EP, following his colourful and enigmatic release End of a Line or Part of a Circle? in June.

The Self Elastic is inspired by the writings of Octavia E. Butler and Bo-Young Kim and the fluid approach of jazz master Ornette Coleman – but is described as being ‘designed for freak-time club rapture’.

What’s the music like?

Intriguing – and as fluid as its title suggests. Arp has endless imagination when in the company of a synthesizer, but one of the elements that makes his work so distinctive on this EP is his use of rhythm.

The ‘freak-time club rapture’ is aided by percussive and is found in much more subtle workings on Polymer, a ball of energy with musical material that ricochets backwards and forwards like a form of ping pong. Afterimaging has a similarly active profile, Arp crafting short riffs and melodic cells that weave in and out of intricate yet hyperactive percussion. Soon the reference to Ornette Coleman becomes clear, a saxophone offering an intense counterpoint before the music subsides.

Shrink Wrap offers a contrast, its slower motifs suggesting the workings of a small chemistry lab, before the subtle brush strokes of Liquid bring music that simultaneously moves forward energetically while being suspended in space. Arp’s music has a friendly profile here.

Does it all work?

It does – each of the four tracks linking together in satisfying unity.

Is it recommended?

It is. Another fascinating Tristan Arp EP demanding to be added to your collection.

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Switched On: Carlos Ferreira – Isolationism (AKP Recordings)

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by Ben Hogwood

What’s the story?

On his Bandcamp page, Brazilian artist Carlos Ferreira is described as an ‘experimental guitarist and composer whose work explores the relationship between sound, space, time and memory.

Isolationism is meant as a study in frequency, resonance and vibration – achieved through the use of electronic and acoustic instrumentation, drones and field recordings.

What’s the music like?

Impressively varied for slow music of this type, and unusually absorbing, too. Isolationism works when listening close up, but it also gives the listener an intriguing set of perspectives as they work through the album, each track placing them in a different soundscape. Around them Ferreira blends a wide variety of slow-moving studies, each individually coloured to descriptive effect.

An Extension Of Breath, featuring sound artist Echo Ho, sets an airy mood, together with field recordings of birds that will confuse the listener walking along on headphones.

The two Quietitude tracks are rather special. Quietitude I features sustained chimes that resonate deeply over a drone that slowly makes itself known and increases in volume only slightly – but enough to sustain a good deal of tension. Quietitude II is much more distorted and ominous, providing a heavy backdrop even when the treble opens out to more opulent textures.

Clarinettist Lucas Protti is a sensitive guest on Living A Metaphor, where his opening ruminations feel borne from a street corner. Percussionist Manami Kakudo brings an unexpected bout of kinetic energy to Naturaleza Muerta, with more playful riffs and bold textures.

Meanwhile Artificial Lungs is a study in perspective, with a single probing piano line tracing tendrils that are gradually washed away by a wave of more distorted but consonant harmony. Take Shelter is more restrained before agitation returns in the form of Organic Matter, where pitches align in bright harmony against slow moving percussion given maximum reverb.

Does it all work?

It does. Some of the louder music can be quite abrasive and confrontational, but this is an observation rather than a criticism. It shows that Ferreira can evoke very different moods in the course of his work.

Is it recommended?

It is – providing more evidence that AKP Recordings are a springboard for fascinating and absorbing musical explorations. Carlos Ferreira definitely fits the bill for that.

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Published post no.2,008 – Monday 13 November 2023

Switched On: John Tejada – Resound (Palette Recordings)

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by Ben Hogwood

What’s the story?

The incredibly prolific John Tejada returns with his 15th album – this time pruning his music down to the bare essentials.

With seven tracks clocking in at 36 minutes, this is a record that looks for economy, Tejada having undergone a rigorous quality control process to get it released. As with much of his music the outlook is instrumental, though there is a vocal guest – March Adstrum – on the central track Fight Or Flight.

What’s the music like?

Tejada consistently impresses with his ability to write huge amounts of fully satisfying techno music that – while largely machine generated – has a profoundly beating heart.

As with much of his work, four to the floor is the base on which he operates – but there are always percussive nuances and melodic lines that keep the listener’s interest high and the dancer’s feet ready to go. Starting with woozy atmospherics, the single Simulacrum soon sets down a strong 4×4 beat, bolstered with extra percussion.

Someday has a golden glint to its production, shining through the hazy white noise. The Disease has that lovely steadying quality that Tejada can bring to his music, while Fight Or Flight – with an excellent contribution from March Adstrum – has lovely warm colours and shimmering textures. Centered is a funky piece of work – and a fine one at that – but Trace Remnant is even better, bolstered by Different Mirrors as a coda.

Does it all work?

It does. Tejada has an established style with intricate workings that repays repeated listening – and the golden haze he secures here is rather beautiful.

Is it recommended?

It is. John Tejada remains on top form!

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Published post no.2,006 – Saturday 11 November 2023

Switched On: Forest Swords – Bolted (Ninja Tune)

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by Ben Hogwood

What’s the story?

Six years on from Compassion, his debut release for Ninja Tune, Matthew Barnes returns under his Forest Swords moniker for a powerful follow-up. The intervening period has seen him working on commissions writing music for film, ballet and video games – but as listeners will discover from his second album, Barnes continues to take a bold approach to his work.

Bolted was recorded in Barnes’ home city of Liverpool, in a warehouse space – and it includes singles The Low and Butterfly Effect.

What’s the music like?

Expansive. The Forest Swords sound world is one with wide, panoramic views that are especially effective on headphones. Big, reverberant beats and synths are complemented by vocals that are deliberately treated, sometimes warped to blend in with their surroundings as they are on End or brought to the front for maximum effect, as they are on the powerful Line Gone Cold, an epic and emotive piece of work that closes the album.

Often it feels like Barnes’s music is telling the story of an industrial process, with the clanging of percussion in Rubble a working example. Butterfly Effect has rolling beats like a pinball machine but with widescreen synths out front, while Tar sounds like an old, distorted squeezebox pressed into action at short notice. Night Sculpture, an impressive construction, is dominated by a bold melodic chime and is typical of an ability to paint vivid and meaningful pictures in sound.

Does it all work?

It does. Forest Swords stands for distinctive, evocative music that draws from the past – 1980s acts such as Cabaret Voltaire could be mentioned – but also feels part of the future.

Is it recommended?

Yes. This is a bold, striking album that repays repeated exploration.

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Published post no.2,004 – Thursday 9 November 2023