Category Archives: Switched On

Switched On – Dorian Concept: What We Do For Others (Brainfeeder)

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Reviewed by Ben Hogwood

What’s the story?

Vienna-based artist Dorian Concept – aka Oliver Johnson – releases his third album through the Ninja Tune family. This one celebrates a less calculated way of working – which is not to mean it is careless, but that Johnson has decided to apply less of an editing process to the results.

What’s the music like?

Colourful and often invigorating. Tracks such as the cheery You’re Untouchable and Friends show Johnson’s prowess as a beat maker, and his instinctive way of working that comes from jazz.

The influences on the record are refreshingly far-reaching, and mean that pigeon holes for Dorian Concept’s music are more or less cast aside. The Other has an Eastern feel, while Let It All Go, Survival Instinct and Turn Away are musical workshops, clicking and whirring their way into life with a host of playful riffs. In these communal moments Johnson’s music recalls another, much earlier Ninja act, the collective Homelife.

On the other hand Johnson has a talent for setting a more reserved and evocative atmosphere, which he does in the nocturnal Fever.

Does it all work?

It does. Johnson’s music has a fresh, instinctive feel about it, as though the paint on his artworks has only just dried.

Is it recommended?

Yes. What We Do For Others is a celebration of creativity, and its many layers reveal something new with each listen.

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On Record – Julian Brink: Utility Music (Sono Luminus)

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Reviewed by Ben Hogwood

What’s the story?

Johannesburg composer Julian Brink initially conceived Utility Music as part of a film score. The film was unfinished, but he revisited the music during the pandemic in 2020, moulding it into a standalone album. The recording took place remotely around the world, with contributions from musicians in Los Angeles, New York, London, Frankfurt and Hamburg, not to mention the composer’s bedroom at his apartment in Hollywood.

The title reflects the German phrase ‘gebrauchsmusik’ – music written for a specific event or purpose – as well as a reflection of how the recording came about. The influence of John Cage is clear, too, in the more experimental aspects of the music and its germination.

What’s the music like?

Easy on the ear – but never too easy. Brink often works from the approach that less is more, and it serves him extremely well, for Utility Music has an intimate, conversational approach that instinctively draws the listener closer and communicates directly.

The quality of his instrumentalists is a clear asset, too – and they all deserve a name check. The core are three string players, Moldovan violinist Dan-Iulian Druțac, violist Nick Revel (of the PUBLIQ Quartet), and cellist Joe Zeitlin. They are complemented by woodwind (Matt Demerritt), clarinet (Tyler Neidermayer), horn (Meredith Moore), trumpet (Joe Auckland), brass (Juliane Gralle), harp (Hanna Rabe), percussion (Max Gaertner) and bass (Gabe Noel).

Colombo/Green Fingers shows a little of the influence of Steve Reich, but Miniatures is where you sense Brink’s individual voice is louder, a mechanism slowly turning with clicks and whirs against coloristic effects from the strings. Simple Trio is an intimate aside, while Eventually Lapse has watery textures over which a violin sings and calls. Eastwood no.4, meanwhile, is especially descriptive, attractively scored for harp, percussion, viola and cello – while the final Pattern Shells, for mixed quartet, is attractively shaded.

Does it all work?

It does indeed – and if you need further proof, watch this ‘reaction’ video from viola player Nick Revel:

Is it recommended?

Yes – very much so. There are some intriguing and descriptive sound worlds awaiting listeners here, but also intimate and personal asides that speak with a calm but probing intensity.

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To hear clips and explore buying options, you can view this release on the Sono Luminus website

Switched On – Bibio: BIB10 (Warp Records)

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Reviewed by Ben Hogwood

What’s the story?

As its title confirms, this is the tenth studio album that Bibio – aka Stephen Wilkinson – has completed. Much of that odyssey has been for Warp Records, where he has garnered a loyal following from albums such as Ambivalence Avenue, Mind Bokeh, Silver Wilkinson and the attractive Sleep On The Wing EP from 2020.

For BIB10, however, Wilkinson wanted to use more synths, drum machines and electric guitars, but in his words, ‘getting a more polished sound, without ironing the humanity out of it, was part of the ethos’.

What’s the music like?

Anyone following Bibio over those ten albums will know that he has a high quality threshold, and that his songs are consistently good and meaningful. His work also evades capture where genres are concerned, flitting between electronica, pop, folk and a lightly psychedelic approach.

BIB10 feels firmly rooted in the 1980s at times with its electro-funk work, but on other occasions when the guitar comes out it even passes close to the orbit of Steely Dan. The music has a typically airy disposition and an attractive lightness, while Bibio’s vocals are as always very nicely done.

Two tracks feature the resonant tones of Olivier St Louis – the breezy S.O.L. and the album closer Fools, which dips into RnB. Elsewhere, Off Goes The Light is an attractively light hearted song in a big space, Sharratt is a nicely designed web of guitar melodies, while the languid Rain And Shine has slight Eastern leanings.

Cinnamon Cinematic is a perky number where those Steely Dan references crop up, its closing guitar solo a good bit of fun. Meanwhile there are more pastoral overtones in the thoughtful tones of A Sanctimonious Song, with its woozy effects.

Does it all work?

It does. One of the funkiest of Bibio’s albums, it also contains some of his most satisfying, club-based songs. The drums machines work a treat, ensuring a bit of time travel for listeners as they go back three decades.

Is it recommended?

Heartily. Bibio remains one of our underrated musical wonders, and Warp really do have a treasure on their hands. More people should appreciate his music, and the way it sweeps our cares away!

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Switched On – De Lux: Do You Need A Release? (Innovative Leisure)

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Reviewed by Ben Hogwood

What’s the story?

Do You Need A Release? is a highly appropriate title for our times. It is the third album from Californian band De Lux, who are principally the founding duo of Sean Guerin and Isaac Franco. However on the sessions for this album they brought their live band into the studios at Long Beach and made this set of powerful, electronically sourced pop music.

What’s the music like?

De Lux offer an invigorating album of time travelling, switching effortlessly between the past (Talking Heads, Tom Tom Club and Blancmange are all palpable influences) and the present / future. Like a poppier version of The Rapture or !!!, they hit the listener right between the eyes with a set of euphoric choruses, sharply defined electro disco and highly effective power pop.

The live aspect is important and keeps the music with a quickly beating heart. They Call This Love provides a brilliant first chorus, a sign of strength for the album lying ahead. Validation has a sharper edge, nicely realised, while Some Things Never Break mines the archive for a riff that could easily have been transported in from a Telex record. The punchy guitars are a great complement here.

On And On (Till The End Of Us) has a strutting beat and a strong chorus (going on and on and on!) while by contrast The Final Breath You Take is a poignant and understated number, and rather moving with it.

Does it all work?

It does indeed – a really strong set of grooves and sentiments for our times. The only slight problem is one of length, with some tracks fulfilling a 12″ structure – but if you’re happy with that, there really are no problems.

Is it recommended?

Yes, and especially if you like any of the names mentioned above. If you do need a release, you know exactly what you should do!

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Let’s Dance – Various Artists – Future Disco: Mirrorball Motel (Future Disco)

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Reviewed by Ben Hogwood

What’s the story?

Future Disco has proved to be an incredibly popular series over the years, presenting a number of different takes on the house-disco interface. Part of its success is down to the ability to keep fresh with its selections, and true to form Mirrorball Motel includes five new tracks.

What’s the music like?

Consistently strong and rarely generic, this is a really enjoyable set of tunes.

The new material performs strongly. Daisybelle & Tasty Lopez’s Starlight (in Future Disco Ballroom Dub form) sashays onto the floor with confidence. Boys Shorts‘ Suburban Love Affair has a strong West Coast vibe, while Italoconnection dazzle with interlinked synths in the 1980s throwback All Over. Charlie Hepworth‘s It’s Satisfaction has an enjoyable rough edge to its tone. Best of all, arguably, is the heat-soaked You Understand from the brilliantly named Clive From Accounts, a track full of atmosphere and promise.

The other tracks are hardly fillers – not when you consider the addition of Roosevelt, Breakbot, Irfane & Yuksek and Digitalism – as well as strong contributions from the likes of Storken and EYNKA, who throws in some Bicep-friendly shimmering synths.

Does it all work?

It does – Mirrorball Motel takes you to a different place pretty much straight away, impressing with its fusion of poolside house and deep, clubby dance fodder.

Is it recommended?

Yes, enthusiastically – taking its place alongside the most successful instalments in an impressively durable series.

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