Category Archives: Switched On

Switched On – Heavenly Remixes 1 & 2 (Heavenly)

Posted on by
1

heavenly-1

reviewed by Ben Hogwood

What’s the story?

The celebrated record label Heavenly, one of Britain’s most durable independent record labels, was built in part on the art of the remix. It is therefore only right they celebrate the craft with a quartet of compilations. The first two were released in late 2021, while the much-missed Andrew Weatherall who made their first remix, gets the third and fourth volumes all to himself early this year. This review covers the wide selection of music housed in the first two releases.

What’s the music like?

Hugely enjoyable. The great thing here is the planning on the part of the label, who have skilfully blended remixes old and new into a logical order without losing the sheer enjoyment of the process.

Among the many highlights is the now legendary Underworld remix of Saint Etienne’s Cool Kids of Death, with spacey pianos flitting in and out of the picture. This is in contrast to the blasts of distortion given to Jimi Goodwin’s Terracotta Warrior by Andy Votel. The Mother remix of Espiritu’s Los Americanos brings the funk, while a surprise Cherry Ghost cover of CeCe Peniston’s Finally has a meeting with The Cure’s Lullaby in an unexpected turn of events from the studio desk of Time and Space Machine.

The more recent material includes a windswept take on Unloved’s Why Not from Gwenno, while Raf Rundell struts out in the company of the synths of Harvey Sutherland, an excellent take on Monsterpiece. The spatial effects applied to Midlife’s Automatic from Jono Ma Ascend are also a treat for the headphone listener, and the loping beat of Confidence Man’s Out The Window, as managed by Greg Wilson & Ché Wilson, is brilliant.

heavenly-2

The second volume has a similar old-new profile, which once again is brilliantly managed. The enjoyably gritty Monkey Mafia remix of Saint Etienne’s Filthy is very much of its time, with big beats and heavy bass, while The Orielles succumb to a great piano-led house treatment from Dicky Trisco & Pete Herbert on It Makes You Forget. The artfully restrained Mikey Young remix of Boy Azooga’s Face Behind Her Cigarette is nicely done, and leads into typical glittering excellence from Lindstrøm, as he takes Doves’ Jetstream to the cleaners. R. Seiliog’s swirling take on Gwenno’s Chwyldro is a compilation highlight, making a heady impression, while in a similar vein M. Craft’s Chemical Trails is wispy and rather lovely when passed through the studio of Beyond the Wizards Sleeve.

Does it all work?

Yes. A few of the remixes show their age but why shouldn’t they? It all adds to the appeal of a compilation that will leave its listeners more than a little misty-eyed, but will give the rush of familiar vocals in unfamiliar settings. The wide range of styles only makes the package more attractive.

Is it recommended?

Without hesitation. Anyone with a passing interest in dance or indie music will take a lot from listening to these two volumes, and some of the components will fill valuable gaps in many a collection. It is a genuine thrill to hear a remix album as good and as fun as this collection is.

Stream and Buy

 

 

Switched On – vaghy: Minimalism (Théque Records)

Posted on by
Reply

vaghy

reviewed by Ben Hogwood

What’s the story?

After 20 years of playing as part of a band, Hungarian pianist Tamás Vághy is striking out on his own, with little more than a piano and some electronics. His aim was to strip music back to its bare elements, and to rediscover his own art as a performer and composer.

While vaghy plays the piano for the main melodic lines, he also provides the accompaniment through a clutch of analogue synthesizers and even a heavily manipulate zither.

What’s the music like?

Minimalism is a brave title for a new album, for although in this case it means a ‘back to basics’ approach, it also forms in the listener expectations that vaghy’s style will be close to that of Steve Reich or Philip Glass.

That proves not to be the case, but not in a bad way, for this is a thoughtful and often enlightening piece of work. It is also not a straightforward piano album, thanks to vaghy’s treatment of sounds. This is immediately apparent on the opening Rush, with dampeners applied to the tones so that the piano makes a lovely, mottled sound.

vaghy writes with a good deal of movement in his music, but with a stillness at the heart of it where the listener can position themselves. The style also bears similarities to Michael Nyman’s piano work but the tones are lighter on the ear and more evocative.

As Minimalism progresses so there is increased light and shade – the former present in the airy touches of Backwash, which has a lovely rippling effect. The latter qualities are evident in the darker Tripping, with its shuffling rhythm track.

Meanwhile the likes of Lonely and Dawn Light find a special, inward-looking intimacy, while Intention has a lovely turn of phrase and some complementary effects with the Moog, which blossom to a full-bodied and powerful conclusion.

Does it all work?

Yes – Minimalism has enough craft and descriptive colour to stand out from the crowded field in solo keyboard repertoire. Its loops become strangely hypnotic and the attention to detail invested by vaghy is repaid through music of character and subtle shades of colour.

Is it recommended?

Yes. If you like keyboard players such as Nils Frahm then vaghy’s music will definitely appeal, and its subtleties will work their hypnotic touch on many a listener. This is a quiet album – and if you make space for it, the rewards are plenty.

Stream and Buy

 

 

Let’s Dance – Various Artists: Africa Gets Physical Vol. 4 – Thandi Draai (Get Physical)

Posted on by
Reply

Thandi Draai

reviewed by Ben Hogwood

What’s the story?

The Africa Gets Physical series has been a ray of light in house circles since it started. For its fourth volume Berlin label Get Physical hand the reins to Thandi Draai, who has been making waves in South African tech house over the last couple of years. Draai’s guide looks across the continent for inspiration, highlighting a range of talent in house circles.

What’s the music like?

Excellent. House may be the main musical discipline but there is a lot of variety here, and it is well chosen and ideally sequenced by Draai.

Of the 17 numbers there are some powerful stand-out tracks. Afro Brothers’ Amathuba, featuring Pixie and Lucky Keys, is a slightly trancey number with a really strong vocal. BlaQRhythm’s In The Jungle goes heavy on the percussion, while the next one strong offbeat presence. Dawgpound uses a clever, refracted vocal on Egypt to give the impression of a distorted monastery set to house beats. Eltonnick & G-Wash10’s Osiros, featuring T_Phoenix, is just superb, its driving beat and penetrating vocal complementing each other perfectly. Meanwhile Khensy & Cuebur’s Hulelewani is powerfully wrought, with a richly harmonised vocal. On the deeper side sits Sikkelela, with rich harmonies from Un_nown & Zikhona.

Throughout the collection modern tech beats sit comfortably with original percussion – which gives the music plenty of drive – and some really excellent, authentic vocals.

Does it all work?

It does – Thandi Draai’s selection is full of top quality house, and the impression is that there is still plenty more where this came from.

Is it recommended?

Definitely – the most inspiring volume of Africa Gets Physical to date, for which the label should be applauded. We need more exposure to house music from the Southern Hemisphere, especially if it’s as good as this!

Stream

Buy

 

 

Switched On – Quattro Artists: albums from Quivver, Captain Mustache, Satoshi Fumi & Lopezhouse

Posted on by
1

quattro-artists

4 Albums – Captain Mustache Indigo Memories; Quivver Revelate; Satoshi Fumi Mysterious Phenomenon; Lopezhouse Apollo

reviewed by Ben Hogwood

What’s the story?

This is a novel idea from John Digweed’s Bedrock label. The Quattro project presents four new albums from Bedrock artists, put together in typically chic packaging. The four producers in question range from the new to the experienced, namely Quivver, Captain Mustache, Lopezhouse and Satoshi Fumi.

The care and attention to detail with the release gives it a prestigious air, but also shows the depth of investment Bedrock are prepared to make in their artist roster.

What’s the music like?

There is a wealth of electronic music goodness here.

First up is Quivver’s Revelate album, released separately in November and given a bright green light on this very site. As Arcana said at the time, the structure of John Graham’s album is impeccably cast and tells its own story, acting like a DJ mix. There is a really rewarding mix of deep, warm house tracks but also those laced with a bit of attitude, all geared squarely towards the dancefloor.

Altered and Funkfly are two great examples of just how strong Quivver’s groove can be, while Crystals offers enticing warmth. What really impresses though is Graham’s mastery of his tools, never using too many or too few notes, and generating impressive momentum through his rhythm tracks.

The music of Satoshi Fumi offers the ideal contrast, generally operating at a slower tempo. There are some lovely, warm soundscapes here, proving well suited for a poolside session but also more immersive home listening. That’s because Fumi’s compositions have rich, melodic layers, such as the cellos in A Ray Of Sunlight, or the warm pads used in Dawn And The Moon. Star Gazer is appropriately awestruck as it heads outside with busy pianos and heady strings, while Bamboo Forest presents an intimate set of loops. Fumi has great control over his music at all times, but that doesn’t stop him from expanding his thoughts on occasion, using music made by instinct as well as process. His works are descriptive too – Out To Sea and Air Castle paint vivid pictures as their loops unfold.

Contrast this with the work of Lopezhouse, the Spanish duo adding darker colours to their work in a very effective set of brooding instrumentals. Apollo is a fine debut after 3 EP releases, sporting some dark and tense numbers in Clouds and Soyuz II, while Burning gets just the right balance between poolside chill and a gritty, urban undercurrent. Love On A Spacecraft goes widescreen with pulsing electronics and big boned drums, while the title track is slightly dreamy. Someday, meanwhile, is prime end credits material.

The tempo increases again for Captain Mustache, whose Indigo Memories album gives the double benefit of sounding like home-produced techno while producing grooves destined for a far bigger room. Bleu Ciel, previously released on Bedrock, gets the album off to a pulsating start, sounds flitting above an electro beat that could be imported from the 1990s. Catch Me has a cinematic air, and Andromeda works up a head of steam, while Paola proves to be a compelling electro / techno loop fest.  Midnight Man is a great futuristic track with a touch of Jean-Michel Jarre about it, while Shapes & Oddity also reaches back into the vaults to create a Tron-style thriller.

Does it all work?

It does. Each of the albums will stand well on their own, but given as part of a package they complement each other extremely well. Although John Digweed might not have contributed a musical note here, his influence runs through each of the releases, as you could expect any of these tracks to crop up in a DJ mix under his guidance.

By that you will gather production standards are high, each track is impeccably structured, and the attention to detail is reflected in the artwork adorning this handsome box. There is an album for each mood, too – Quivver and Captain Mustache tending towards moments of dancefloor-based hedonism, Lopezhouse getting the moody end of day lead up to the big night, and Satoshi Fumi floating between the start and the end of the night.

Is it recommended?

With great enthusiasm. Quattro feels like a bit of an indulgence on the part of the buyer, but in the best possible way as this is a labour of love from Digweed’s label. If you plump for the physical version the rewards are many, since not only do you get the music but you get the clever, minimalistic packaging. For those of a certain age – yours truly, for instance, who bought the package just before Christmas – this middle-aged electronica fan means something, at least!

Stream

Buy

You can buy the Quattro CD set from the Bedrock shop here

 

 

Switched On – Bonobo: Fragments (Ninja Tune)

Posted on by
Reply

bonobo

reviewed by Ben Hogwood

What’s the story?

Perhaps surprisingly, this is the first album from Bonobo in five years. Simon Green – whose pseudonym this is – describes his new record as the most emotionally intense record that he has ever had to make. As with previous releases he takes a number of guest vocalists with him on the journey, dovetailing those tracks with instrumentals.

What’s the music like?

Familiar. If you have heard Bonobo’s music before, the manner of its construction on Fragments will tick a number of boxes. Beautifully orchestrated, the instrumentals work well with the broken beats that Green employs, which have more power and depth this time.

The vocal guests complement his sensitive work with some meaningful lyrics. There are strong contributions from Joji, Kadhja Bonet, Jamila Woods and O’Flynn, but pick of the turns is from Jordan Rakei, who lends a powerful tug to the heartstrings on Shadows.

The thicker set grooves may be welcome, but does the familiarity of Bonobo’s sound breed contempt? Certainly the chopped up vocals on Age Of Phase feel familiar, very much a continuation of what Bonobo does best. Rosewood is also a characteristically moody instrumental with vocal snippets, though Otomo is more acidic, dropping a heavy set beat. On the calmer side the shuffling beats of the comforting Closer work well, while the silvery strings to close out Tides are reminiscent of Ravel. Elysian also has alluring strings, especially when teamed with a harp.

Does it all work?

It does, but the feeling persists that this is music we have heard before – and possibly in more meaningful colours. In spite of the emotion invested by Green the music does feel grey at times. That may seem harsh on Bonobo, for the music is beautifully constructed and executed, but it is more than a little downbeat in a way we have experienced before.

Is it recommended?

It is for Bonobo devotees, as there are some good moments here – and especially the Jordan Rakei contribution – but for those new to his sound an album from earlier in his output, such as Black Sands, is arguably the best place to start.

Stream

Buy