On Record – Various Artists: Come Together: Adventures On The Indie Dancefloor 1989-1992 (Cherry Red)

by Ben Hogwood

What’s the story?

A generous 4-CD compilation from Cherry Red, billed as a celebration of the Madchester / baggy scene and the Indie-dance crossover.

If you were anywhere near Radio 1 or even Radio 5 in the early 1990s you will have known about the influence this scene had on the singles charts, but Cherry Red are looking at it from the perspective of the clubs. With that in mind the tracks here are presented unmixed and mostly in 12″ form.

What’s the music like?

This is a buoyant collection to raise many smiles among listeners who were there at the time…but will surely serve as the ideal way in to the curious first-timers.

The big hits take care of themselves – Happy MondaysStep On, The CharlatansIndian Rope and Stone RosesFools Gold are pure Manchester gold. That’s before you consider Inspiral Carpets, James (via the mixing desk of Andrew Weatherall) and Primal Scream (via Terry Farley)

That the scene crossed over to Ibiza is clear from the inclusion of 808 State‘s Pacific State and The Beloved’s The Sun Rising. Shoegaze classics abound too, from Chapterhouse and Spacemen 3 – or leaner, more direct efforts from the likes of Carter USM and Pop Will Eat Itself.

While it’s great to have the well known classics, the bubbles from beneath the surface are even more valuable. Lesser known names such as Paris Angels, The Wendys, Sinister Groove and New Fast Automatic Daffodils prove their worth too.

Does it all work?

It does – and the breadth of styles means that this is a collection to dip into over and over again. It also has the added value of putting overplayed radio hits back in their best context. The Mock TurtlesCan You Dig It? is a prime example!

Is it recommended?

Wholeheartedly. As a snapshot of a euphoric time in British music history, Come Together works an absolute treat.

Online now – Philip Sawyers’ Mayflower on the Sea of Time

The latest addition to the English Symphony Orchestra library of online music is the first performance of Philip Sawyers‘ major choral work, Mayflower on the Sea of Time.

With its ‘luminous and ecstatic choruses’ picked out by Richard Whitehouse in his review of the initial concert, this is an affirmative and major piece by one of the finest contemporary English composers.

Soprano April Fredrick and baritone Thomas Humphreys are joined by the ESO Chorus and English Symphony Orchestra in the premiere from Worcester Cathedral, given on 17 June this year.

You can watch a preview clip below, and access the full performance at the English Symphony Orchestra website.

Oppenheimer – the opera

Operan-heimer

by Ben Hogwood

With the release of Christopher Nolan’s film Oppenheimer last Friday, it is worth noting that opera also has its own high quality biopic of the scientist.

John Adams wrote Doctor Atomic in 2005 to a libretto by Peter Sellars. It is a compelling tale, bolstered by some of the composer’s best music.

The Metropolitan Opera have made their Penny Woolcock production available online, and you can view it here… it is highly recommended!

The 1st of July – musical miniatures from Tchaikovsky and…Bomb The Bass

With the arrival of July 1st, here are two very different musical responses to the month. The first is an extract from Tchaikovsky’s popular cycle for piano, The Seasons – designating July to be The Song of the Reaper:

Then, with the weather here in the UK having been a little downcast this morning, a very different response from Bomb The Bass. Winter In July is a wonderfully moody song, with vocals from Loretta Haywood. It could only be from the early 1990s!

In appreciation – Manuel Göttsching

by Ben Hogwood

Yesterday we learned the sad news of the passing of the highly influential German musician Manuel Göttsching. He was the leader of two 1970s groups, Ash Ra Tempel and Ashra, but was best known as a solo artist.

In spite of his solo role he managed to sound like a whole ensemble on the remarkable E2-E4, which remains his calling card today. Written between 1981 and 1984, the epic composition predates dance music as we know it by many years, tapping into the minimalism of composers such as Reich and Glass but taking a different, even more hypnotic approach. Little wonder that this beauty found many fans in Ibiza, becoming one of the key early Balearic successes that the likes of Sueno Latino would draw upon.

Here it is in full:

I was fortunate enough to see a two-part Göttsching concert at the Convergence Festival at the Barbican in 2017, which you can read about here