Category Archives: Switched On

Switched On – Akusmi: Fleeting Future (Tonal Union)

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reviewed by Ben Hogwood

What’s the story?

Fleeting Future may be the title, but the debut album from Akusmi – aka multi-instrumentalist Pascal Bideau – was actually recorded between 2017 and 2019 in North London.

You would also be hard-pressed to guess the location of the recording, for Akusmi’s music falls heavily under the influence of gamelan writing. For his colourful scores, Bideau linked up with Berlin to include contributions from saxophonist Ruth Jelten, trombone player Florian Juncker and drummer / percussionist Daniel Brandt, of Brandt Brauer Frick.

As well as taking on gamelan principles, Fleeting Future draws on Japanese culture and art for its inspiration. Neo Tokyo is a reference to Katsuhiro Otomo’s Akira, set in a futuristic metropolis, while Yurikamome is an imaginary visit to Japan. Throughout, Bideau brings the worlds of fantasy and future reality into close alignment, writing in a style that suggests the influence of so-called ‘minimalist’ composers.

What’s the music like?

To call this music minimalist would do it a disservice, however – for there is a lot going on here, with bright colours and strong motifs blending in together.

There is also a genuine feeling of excitement coursing through this music, with the spirit of discovery at every turn. The pocket-sized melodies of the title track, placed first, are maximal rather than minimal, with a very strong forward momentum driven by the saxophone and trombone lines. Here Bideau evokes the shorter works of composers such as Michael Torke.

The multilayered Sarinbuana is more complicated, with a taught rhythm section under the watchful eyes of Daniel Brandt and long phrases from the saxophone stretching over the top. Divine Moments of Truth is guitar-based, its counterpoint expanding into more electronic guises, while Neo Tokyo begins with stop-start phrases, quickly picking up potential energy in the manner of a rapidly accelerating train. Longing For Tomorrow brings the rasp of the trombone to the front, while Cogito does the same with a cheery saxophone riff. Concrescence shows off some lovely colours, powered by marimbas but blossoming with rich woodwind.

Does it all work?

It works incredibly well. Bideau’s music has a vitality and verve about it that is all too often lacking with instrumental music, and the jazzy touches around the edges – which sometimes come to the fore – show that he can be relied upon to deliver improvisations of the highest quality too.

Is it recommended?

Yes. One of the freshest albums I have heard in a long time, with a great deal of infectious, positive energy.

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Switched On – James Alexander Bright: Float (!K7)

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reviewed by Ben Hogwood

What’s the story?

A second album for James Alexander Bright, recorded in the Hampshire countryside over the past year. It is a team effort, with guest slots from the vocalist Fink, drummer Feiertag, vocalist Kerry Leathem and a number of close contacts, including manager Benjamin Smith, who plays bass on the longer closing track to the album, Be Strong.

What’s the music like?

If ever an album sang “SUMMER” at you, then it’s this one. Bright has a lovely voice, creamy in tone and warm in its delivery, not a million miles from Yannis Philippakis of Foals. Sometimes the rhythms he uses are not far from that band either, especially the edgy, tripped up beats of Soul.

Yet those similarities are coincidental, for Bright secures a very different mood, blissful in its countenance. This is poolside listening of the best kind, with songs that are dreamy but well written, lovingly crafted guitar lines seeing them on their way.

The rhythms are fresh and inventive, with a kind of light bossa nova accompanying Drink This Water. Warmth courses through the whole set of songs, with even a title such as Ice Cold bathing in lovely warm keyboard sounds.

The instrumentals reinforce the hot temperatures. Grow presents a lovely warm weather image of the ebbing of a tide, or the distant sound of bells, through its intricate synth work.Shepherd has a woozy, drowsy feel to it, with an absent minded guitar adding contented comments to a firmer beat almost of deep house origins.

Perhaps the best moment is a collaboration with Fink, the two voice types complementing each other for Sundown, and its vocal couplet “I can see it working out”. It is complemented by the closing Be Strong, an extended piece that is simultaneously urgent (rhythm) and extremely chilled (keys)

Does it all work?

It does – and Float has the ideal proportions and mood structure to boot.

Is it recommended?

Yes. The current hot spell in James’s home country is to his distinct advantage, for Float works a treat with the doors and windows thrown open, or accompanying a poolside reverie. Add it to your collection!

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Switched on – new music from Stereolab

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Arcana bring good news to fans of Stereolab – having just announced a new album, the band are going back on a European tour in the Autumn.

The album first – and it’s the fifth in the popular ‘Switched On’ series that Warp Records have been exploring. Pulse of the Early Brain [Switched On Volume 5] will be released on September 2, via Warp Records and Duophonic UHF Disks. It will include some intriguing and desirable miscellany from the band, with its lead track, Robot Riot, a previously unavailable piece of music which was written for a Charles Long sculpture:

Also on the tracklisting for Pulse of the Early Brain are two Nurse With Wound collaborations from 1997, a second commission for a Charles Long sculpture, Unity Purity Occasional, and two tracks, Spool of Collusion and Forensic Itch, that made up a rare black vinyl 7” with the Chemical Chords LP in 2008.

This release includes both old and new, however, going back to the Low Fi EP, released on Too Pure in 1992, for four tracks (Low Fi, [Varoom!], Laisser-Faire and Elektro [he held the world in his iron grip].

And so it continues – for a total of 16 tracks. For full details visit the Stereolab Bandcamp site…and for a review of the album when it drops make sure you check back to Arcana!

Switched On – Daniel Troberg: Electro Works 1997-2002 (Sonidosys)

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reviewed by Ben Hogwood

What’s the story?

A trip down memory lane for Daniel Troberg, the Finnish DJ and producer now located in Los Angeles  where he is resident for Transition @ Dublab. A lot has changed for him musically since 2002, but this collection brings together his solo output from the turn of the century.

What’s the music like?

Troberg explores a mixture of approaches. At times his music feels very minimal, and certainly is in the melodic department, but the variations in texture and clumps of activity behind the front line means there is actually a lot going on.

Some of these tracks are more experimental, and pull at the outer reaches of rhythm and melody. The cinematic Bad Dream is one of these, setting a weird and at times unsettling scene with its unusual harmonies. The slower Abyss looks down similar avenues.

On the other side, Zzz proves its worth as one of the best tracks with a combination of driving rhythms, friendly chatter in the midrange and a backdrop of cool keys. The more minimal Talkback gives off a rich array of colours from its dancing synth lines, while the propulsive Epax is a chunky piece of electro, again with minimal melody but punching its weight comfortably. Intruder is cut from similar cloth, while OBX2 is notable for a distinctive, thick chord that recurs at regular intervals.

Does it all work?

Largely. Troberg’s electro tracks are well crafted and impeccably scored. They generate a good deal of kinetic energy, if not always getting beyond a darker and minimal melodic approach.

Is it recommended?

Yes. It’s easy to see why figures such as Laurent Garnier, The Hacker and Marcel Dettmann have expressed support for Troberg’s collection, as fans of those artists will find much to appreciate here.

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Electro Works 1997 – 2002 will be released on July 15 on Sonidosys. In the meantime, visit Daniel Troberg’s Soundcloud page for more tracks

Switched On – Jimi Tenor: Multiversum (Bureau B)

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reviewed by Ben Hogwood

What’s the story?

After two collections of career-spanning retrospectives, Jimi Tenor teams up once again with Bureau B. This time the material is brand new, and the label have allowed him free reign within the slight confines of synthesizer, flute and saxophone. He has such a diverse musical history that he could turn his hand to pretty much any form of electronic, jazz or even modern classical, but here his choices tend towards a blend of electronic and jazz.

Working with a typically instinctive approach, Tenor delivered the album within a few months from his Helsinki studio, using drum machines and synthesizer loops as a support for all sorts of treble-range activity.

What’s the music like?

Full of character. Jimi Tenor writes with a good deal of flair and always with a sense of humour, and his solos are packed with melodic content but also unexpectedly poignant moments.

The range of music is impressive, from the ultra-cool Gare du Noir and Monday Blue, with their easygoing vibes, to the upfront Slow Intro, where Tenor employs a fake choir. This leads to Life Hugger, with a flute-led swagger to the Krautrock groove. When the vocals are employed the approach is the same, with Unchartered Waters more song-based and Birthday Magic adding a humourous nod and a wink.

RajuRaju has a short attention span, with frenetic beats countered by rich ensemble passages. It is followed by the longest track, The Way To Kuusijärvi, a lovely slice of mellow flute and keys that give us the chance to kick back and indulge. This being Jimi Tenor, though, there is always some activity underfoot, and the skittish beat means we can’t relax too much! The saxophone solo, when it comes, is a beauty.

Does it all work?

Yes. With most constraints off the table, Jimi Tenor’s ability to think instinctively makes for consistently involving listening. His music is always interesting and full of melodic content, and the humour tops it off. On occasion Multiversum can get a bit ragged, but that’s a small price to pay for some infectiously good vibes.

Is it recommended?

It is. Jimi Tenor’s partnership with Bureau B is clearly good for him – and with the music as colourful as its cover, we can expect a good deal where this came from.

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