New music – Bibio: Phantom Brickworks (LP II) (Warp Records)

Posted on by
Reply

published by Ben Hogwood, text taken from the press release.

Bibio has announced the imminent release of Phantom Brickworks (LP II) on Warp Records on 22 November. The first excerpt from the album, DINORWIC, can be heard here:

PHANTOM BRICKWORKS is an ongoing ambient/drone project by English musician and producer Stephen James Wilkinson aka Bibio, inspired by nature, landscape and places haunted by the faint ghosts of industry. It explores the human echoes still present in various sites around Britain which Wilkinson visited, observing their gradual decline.

“Human beings are highly sensitive to the atmospheres of places, which can be enhanced or dramatically altered when you learn the context of their history… echoes and voices can sometimes be heard, in some way or another. Places sometimes have things to say,” says Wilkinson. He continues, “Since releasing ‘PHANTOM BRICKWORKS’ in 2017, I have come to realise that it is an ongoing project. Although elements of ‘PHANTOM BRICKWORKS’ have seeped into my other albums over the years, it feels like its own separate entity.”

PHANTOM BRICKWORKS (LPII) brings attention to new sites; some are intriguing, vast scars on the natural landscape, others survive only in local memories, historic clips and photographs. A few remain submerged from ordinary sight, while some exist purely as legends and stories. Under blankets of improvised evolving loops of piano and baritone guitar, the muffled spectres of working life can be heard, implying nature will come for everything and eventually hide the scars.

“When I announced the first ‘PHANTOM BRICKWORKS’ album, I discussed how places can be charged with meaning, depending on what they’d been through. That observation continues with the new album. It consists of mostly improvised music, using some of the same techniques as before as well as developing new ones that are unique to this album. Some familiar territory is revisited, both musically and in terms of the types of locations that interest me. North Wales plays a significant role, but this album reaches beyond –  extending into the realms of legends, as stories passed down through generations can sometimes haunt a place more vividly,” says Wilkinson.

You can pre-order Bibio’s album here:

Published post no.2,326 – 9 October 2024

New music – Tunng: Don’t Know Why (Full Time Hobby)

Posted on by
Reply

published by Ben Hogwood, text taken from the press release. Photo (c) Paul Heartfield

The much-loved band Tunng are returning, celebrating 20 years since their first release. In those two decades they have maintained a fascinating musical balance, with a blend of electronica, folk and leftfield pop that has consistently marked them out as a band of special interest. Now the announcement of a new album in early 2025 comes with the following press release:

“Time flies when you’re being Tunng. Can it really be over two decades since the band’s genre-blurring, self-styled ‘pagan folktronica’ first emerged from an east London studio. It surely can, and what’s more, January 2025 will mark the twentieth anniversary of This is Tunng…Mother’s Daughter and Other Songs, a debut longplayer whose acoustic guitars and poetic disquisitions on nature, mythology and the human condition, courtesy of Sam Genders, sieved through fellow band founder Mike Lindsay’s lattice of fractured beats and crackling electronics, still sounds like an impiously postmodern wedding of the rustic and the synthetic, the arcane and the futurist.

That 20-year-old signature sound makes a warm return on Tunng’s eighth studio album, Love You All Over Again, a winning amalgam of texture and melody, disconcerting imagery and shapeshifting production, predicated, Lindsay reveals, on a conscious reacquainting with the band’s first principles. “I went back to the first two albums just to listen to how we fused genres – things like Davy Graham, Pentangle, the Expanding Records catalogue and the Wicker Man soundtrack. Over the years, Tunng’s sound has varied and twisted, but at the root there is always a flavour of what Sam and I made on that first album. Rather than searching for a new avenue we went back to what we used to do, which, after all this time, felt like it was a new avenue… Love You All Over Again is our way of coming full circle.”

Lead single Didn’t Know Why, which you can watch above, is a dauntless face-off between metallic synths and pellucid guitar arpeggiation with lyrics about a familiar Tunng song character, Jenny. “It’s very Tunng: dark but then warm and melancholic. Sam heard this and immediately brought back the murderous Jenny, who has appeared on two previous Tunng albums”.  Genders offers his take on Jenny. “She once represented a kind of romantic ideal – ‘the one’ – but now she’s a sort of every-person – a kind of archetype of all of us!”

Love You All Over Again is an album that gets to the very essence of Tunng. “For Tunng to work, it has to feel surprising, odd and unpredictable, and the new album has all that. It’s all about Tunng being back, as a family, within our original boundaries, bringing the love to all who have been a part of our journey over 20 years.”  Lindsay sums up nicely.

Published post no.2,325 – 8 October 2024

In appreciation – Rohan de Saram

Posted on by
Reply

by Ben Hogwood

At the end of September we heard of the sad death of pioneering Sri Lankan / British cellist Rohan de Saram, at the age of 85.

As this obituary in the Strad indicates, de Saram was a key figure in contemporary music, holding the position of cellist with the Arditti Quartet from 1979 until 2005, as well as premiering a number of new solo works. The short playlist below gives an indication of his solo recordings, from a cycle of Bach suites to work by Dallapiccola:

Published post no.2,324 – Monday 7 October 2024

New music – Various Artists: Electro Throwdown (Soul Jazz Records)

Posted on by
Reply

published by Ben Hogwood, text taken from the Soul Jazz website

Soul Jazz Records’ new collection, Electro Throwdown – Sci-Fi Inter-Planetary Electro Attack on Planet Earth 1982-89, is described as “a journey into the outer reaches of electro, a galactic roller-coaster ride of turbo-charged sci-fi grooveology.”

The album is comprised of mainly private-press and independent label electro jams of the highest calibre (with some as rare as space ships landing on Mars) all created in the 1980s, at a time when a vocoder, a Roland TR-808 drum machine and a groove was all that was needed to get the party started.

With a few notable exceptions (Michael Jonzun’s Jonzun Crew and The Packman) the album features mainly under-the-radar killer tracks from a host of one-off artists and back-room electronic pioneers – including Pretty Tony, Planet Detroit (James McCauley, aka Maggotron) and Rich Cason – who together helped shape the sound of electro across the USA from Miami to New York, Los Angeles and beyond during the 1980s.

This album is released on super-loud double vinyl, packaged in gatefold sleeve complete with full sleeve notes (from Derek Walmsley of The Wire), plus download code and digital. For more information visit the Sounds of the Universe website

Published post no.2,323 – 6 October 2024

On Record – Neil Cowley Trio – Entity (Hide Inside Records)

Posted on by
Reply

by Ben Hogwood

What’s the story?

After seven years of solo work, Neil Cowley has reunited with his trio. The motivation was a need for ‘connection’ in the digital age, for while Cowley has enjoyed a good deal of success in his solo ventures, collaborating with the likes of Ben Lukas Boysen, Maribou State and Rival Consoles, he missed the personal and musical synchronization with his partners, bassist Rex Horan and drummer Evan Jenkins.

Their live reunion in June was met with great acclaim – but Entity is the result of a week-long studio reunion. Cowley prepared for this with pre recorded synth and drum parts to play along too, but those were soon jettisoned, in the name of what he describes as ‘some kind of human push back’.

The week-long session took place at Real World, with production from Ethan Johns.

What’s the music like?

Instinctive and vibrant, just as Cowley would surely have wanted. The musicianship here is remarkable, but all the more satisfying for the chemistry between the members of the trio, who know when to press forward musically but also – crucially – when to pull back and allow room for development.

Cowley’s flowing piano in V&A is particularly beautiful, as it is on Shoot – where Horan and Jenkins add especially persuasive rhythms. Marble begins in serene fashion, an example of how Cowley can bring stately phrasing to his piano work – while at other times it becomes humourous and mischievous.

Father Daughter has a distinctive melody that sticks, while Brood and Photo Box are more conversational, the latter on a more intimate scale. Meanwhile the playful Adam Alphabet, with a lithe rhythm section, is irresistible.

Does it all work?

It does – and joyously so. Sometimes reducing the time you have in the studio brings positive results, and that is definitely the case here – for the innate understanding between Cowley, Horan and Jenkins is clear.

Is it recommended?

It is – no need to hesitate if you have bought the trio’s previous albums, and equally a great place to start if you’re new or know Cowley through his solo work. A timely reminder that while technology is great for music, you can’t beat human interaction.

For fans of… GoGo Penguin, Portico Quartet, Tord Gustavsen Trio

Listen and Buy

Published post no.2,322 – Saturday 5 October 2024