Category Archives: Switched On

Switched On – Leo Abrahams: Scene Memory II (figureight records)

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reviewed by Ben Hogwood

What’s the story?

This is a sequel album at a distance of fifteen years from the original. When Scene Memory I came out in 2006, Leo Abrahams was already proficient in a number of musical forms and styles, but since then he has broadened his horizons by working with Brian Eno, David Byrne, Jon Hopkins and Paul Simon, among many others.

Working from his London studio, Abrahams offers both collaboration and solo work, but until recently has tended to prioritise the former. Scene Memory II sees him return to the solo guitar, and all its sounds are conjured from the instrument in some way.

His approach is one largely borne of instinct and improvisation, inspired by a tour of Siberia undertaken in 2019. Many of the melodic ideas have their origin there, being honed to completion in London.

What’s the music like?

There is an intriguing balance of ambience and tension running through Abrahams’ music. The studied guitar lines that come to the forefront are often complemented by more spacious surroundings, rewarding listeners on headphones or wider screen sound systems. There is always a strong sense of direction in his workings, however, and the guitar is used to generate sounds that are by turns percussive, feather-light, melodic and noise-based.

Spiral Trem is glitchy, with bass drum sounds like stepping stones, somehow wrought from the guitar. Supplicant explores the higher range of the instrument with harmonics, which sound like chimes. Its lines recall a similar state of mind to that found in the early ECM recordings of Pat Metheny. Tithe has a calling towards the start and then flickers intermittently, the pauses between its melodic phrases bringing to mind the more intricate works of John Martyn. Alternations retreats to a distance for its reverberating, languid lines, while Ruins is suitably eerie, turning the guitar into a wordless vocal instrument and losing track of a discernible pulse. Troth, meanwhile, has a more severe language secured through its sharper timbres.

Does it all work?

It does. Abrahams’ work has presence and poise, and makes a powerful impact even in its most restrained moments.

Is it recommended?

It certainly is. Abrahams writes music that becomes more compelling the more time you spend with it. It will be interesting to see how his solo work develops as he spends more time on it over the next few years.

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Switched On – Rival Consoles: Overflow (Erased Tapes)

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reviewed by Ben Hogwood

What’s the story?

Ryan Lee West’s new album under the pseudonym of Rival Consoles was written for a dance production, Overflow, choreographed by Alexander Whitley. The aim of Whitley’s work was to explore ‘themes of the human and emotional consequences of life surrounded by data’…echoing ‘the concept of social media, advertising, marketing companies and political factions exploiting our data to gain wealth, political advantage and sow division.’

West noted the potential of the combined artform to ‘create an otherworldly space the listener/viewer can escape to and explore’. A big feature of the finished work is a light sculpture created by Children of the Light, with a long LED bar that moves around the stage.

What’s the music like?

Rival Consoles responds to his theme with music of real presence and tension. Right from the off there is an air of foreboding to Monster, with its brooding colours and slightly irregular pitches and rhythms stretched over ten minutes.

I Like ratchets this up still further. Mashing up a short vocal sample, which is effective but also infuriating as the speaker never quite gets to the point. The Cloud Oracle also treats speech intriguingly, with a held note that has talking heads spun around it.

Flow State is a thrilling ride at a high tempo, with crossrhythms generated by the keyboards that are redolent of Steve Reich and which have plenty of opportunity for development over twelve minutes, the percussion hammering more incessantly on the door.

All these examples are an indication of the invention Ryan Lee West gets in response to Whitley’s brief, resulting in music that pushes him further technically and creatively from the previous album Articulation.

Does it all work?

It does. Overflow is a compelling piece of work, a musical equivalent to the striking colours that adorn its cover.

Is it recommended?

Yes. There was a general feeling that Articulation did not quite meet Ryan Lee West’s full potential as Rival Consoles, effective though it was. There can be no such doubt here.

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Switched On – Various Artists: @0 curated by Coldcut & Mixmaster Morris (Ahead Of Our Time)

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What’s the story?

The value of music for our mental wellbeing is fully recognised in this compilation from Coldcut‘s label Ahead Of Our Time.

With 50% of their net receipts going to CALM, Black Lives Matter and Mind, they have set a rather wonderful set of conditions. Not only 8s the ambient music set to ease troubled minds and enhance, wellbeing, but the proceeds will too.

The compilation is available in separate tracks on LP and CD, and also in mix form thanks to Mixmaster Morris.

What’s the music like?

Both relaxing and enchanting. In the unmixed selection, the soft voices of Julianna Barwick give the listener a warm welcome with Star Ray, before the fuzz of Sigur Ros and Rembihnútur.

Laraaji‘s Illusion Of Time is like a comforting breeze, while the friendly tones of Kaitlyn Aurelia Smith’s Mt Baker are like a musical hug.

Ryuichi Sakamoto‘s Aqua is intimate and expressive, it’s piano texturesnicely contrasted by a reworking of. James Heather‘s And She Came Home. The music of Suzanne Ciani is like soft precipitation, as are the consoling waves of Nailah Hunter, while the twisted tendrils of Helena Hauff and Mira Calix suggest icy, ghostly textures.

The Daniel Pemberton and FSOL collaboration Behind The Eyes is like a bubbling spring with its piano and busy electronics, while one of the most distinctive tracks is The Fire Burns Out, a kind of squeezebox drome from Coldcut themselves. Finally The Drift Home offers some lovely stillness from Steve Roach.

Does it all work?

Yes – and even more so in the mixed version, where no fewer than 30 tracks are beautifully blended together. The new talent is notable too – with deserving mentions for Obay Alsharani and David Wenngren.

Is it recommended?

It is – a collection to savour in the small hours, and one that proves easily capable of soothing the fevered brow.

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https://open.spotify.com/album/36ry6OLPgVNFDj7Vx1HCjv&ved=2ahUKEwj-itiD5t70AhU3Q0EAHSeSAE8QFnoECAwQAQ&usg=AOvVaw1ECmTMNRB_rH9pwx_ro3Y5

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https://coldcut.bandcamp.com/album/0

Switched On – Various Artists: Pop Ambient 2021 (Kompakt)

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What’s the story?

Pop Ambient’s place in the calendar is a reassuring recurrence, as is the music it contains.

For more than 20 years now, Kompakt’s beatless compilation series has given a steadying hand to its listener’s, and the Cologne label see no reason to tinker with their formula.

Once again the tracklisting is a blend of familiar names and new talent, curated as ever by Wolfgang Voigt. His question is simple: What happens when the dancefloor is empty, and everyone’s home to drift away?

What’s the music like?

Once again the carefully selected and sequenced music of Pop Ambient takes its listeners to a special place. Voigt has an uncanny ability of choosingmusic that takes the heat off everyday life, but retains an exquisite tension keeping the listener on board.

The steady chimes of Coiling, from relative newcomers Blank Gloss, is a great example before a deep dive into the watery textures of Yui Onodera‘s Cromo 6. Kari, a collaboration between Markus Guentner and Joachim Spieth, is absolutely lovely, suspended in a blanket of sound.

The bell-like sonorities of Reich & Würden‘s Grainscan prove unexpectedly moving with the addition of a poignant trumpet line, while the steady pulse of Triola‘s Mutterkorn is dressedwith birdsong. Perhaps inevitably some of the best music comes from Thomas Fehlmann, whose Rosen Fliegen has waves of consonant harmony. Later on the notable Retrospektive, from Max Würden, sparkles around the edges.

Elsewhere the calming selection includes blissful moments from Andrew Thomas, Thore Pfeiffer and Weiht, a strong collaboration between Morgan Wurde and Maria Estrella. Closing out the sequence we find Blank Gloss again, further enhancing their reputation with Anticlimbers.

Does it all work?

Yes. It may be a tried and tested formula for over two decades now, but there is surely no need to change the record for Voigt and Kompakt.

Is it recommended?

It almost goes without saying. Pop Ambient is as important now as it ever has been, and shows how Kompakt still have their finger on the reassuringly slow pulse.

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Let’s Dance – Dennis Cruz: Roots (Crosstown Rebels)

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reviewed by Ben Hogwood

What’s the story?

This is the first album from established Spanish producer and DJ Dennis Cruz, who is ready to put his own spin on house music through a ten-track long player. He does this with a succession of guest artists, topped by an appearance from the late Lee ‘Scratch’ Perry, but also including P. Rivas, Ian Luvig, Josh Butler, Iuliano Mambo and Leo Wood.

What’s the music like?

The propulsive rhythms of La Ratonera start the album, a signal of intent with their persuasive shimmying. The nine-minute track has plenty of room to grow, with sultry flute work and the sound of a party in the distance. This cuts to Los Tamales, an instrumental with a lovely swing to its rhythm and old-time piano riff. Later another instrumental, Bend, plays some games with a trumpet and voice imitating each other over a bouncy beat.

Ian Luvig then steps up to provide the stripped back vocal for Good Old Days, a minimal affair with quite a stark texture but a mission to hit the dancefloor hard. The same could be said for Ecua, with some flamenco flavoured brilliance added to the mix, spliced and diced by Cruz’s skilful production. The temperature stays heated for What U Doing, with Leo Wood’s sultry vocals dressing a heat hazed bed of keyboards.

Go Down will be of great interest to fans of the late Lee ‘Scratch’ Perry, who fronts a busy rhythm track. This is a night piece that cuts up his voice inventively, delivering a fluid groove to go with it. It is countered nicely by the raucous trumpets of Ahora Toda Va (Dub), where Josh Butler whips up the crowd.

Te Quiero Cantar takes us back towards the pool, a really nice Mediterranean flavoured instrumental, before Back Again hooks up with Iuliano Mambo for a woozy, sun soaked jam with a big bass sound.

Does it all work?

It does. There is nothing staid or square about Dennis Cruz’s take on house music – the rhythms sway and sashay their way around the dancefloor as he applies plenty of flavour to the mix, keen to show off his Spanish heritage to the max. The vocal guests are the icing on the cake.

Is it recommended?

For sure. Cruz brings warmth to the winter with a set of grooves that prove pretty much irresistible.

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