Switched on – Nathan Fake: Blizzards (Cambria Instruments)

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What’s the story?

Blizzards began with Nathan Fake’s intention to soundtrack ‘the ideal rave’. Heavily based on his live shows, it was made with an eye on musical instinct, going with the moment and effectively going back to first principles.

The Norfolk producer’s fifth album, Blizzards’ title is a nod towards the chaotic politics of the UK in recent times, but its spirit is about channeling positive energy in response.

What’s the music like?

By turns, the music in Blizzards is invigorating and heartwarming. Fake has always been able to summon up kinetic energy without a moment’s notice, which explains why the album gets off to such a strong start with Cry Me A Blizzard, but it’s an approach that bears fruit elsewhere with the twists, turns and clattering breakbeats of Firmament. Vectra and Eris & Dysnomia power upwards from deep bass movements, their loops sweeping all before them, while Torch Song is all about the euphoric treble, with rushes of white sound and widescreen percussive movement. Tbilisi, meanwhile, has sonorous bell-like textures to counter the fizzing drum track

These heady, hedonistic moments of abandon are beautifully countered by warm-hearted thoughts and rich harmonies. Ezekiel evolves magically, from primitive beginnings to brightly lit vistas all centred on a majestic melodic loop, taking the listener on an immersive trip. It is a real beauty, one of Fake’s warmest musical thoughts to date. The closing Vitesse, with all energy spent, revels in the comedown of a good and thoroughly satisfying night, slowly descending in pitch as it comes in to land.

Does it all work?

Yes, handsomely. Nathan Fake has always shown a strong suitability for the album format but here, on his own label, he works brilliantly well with a combination of structure and flexibility. The instinctive approach gives Blizzards a human edge and a warmth that might not have been so apparent had the music been more studio-governed.

Is it recommended?

Without hesitation. In a competitive field, Blizzards is probably Nathan Fake’s finest piece of work to date, confirming him to be one of the top talents of the day in UK electronic music.

Listen and Buy

Switched on – Douglas Greed: Angst (3000° Grad)

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What’s the story?

The story behind Angst is one made for these times. Douglas Greed returns to long-playing action five years after his previous outing for the BPitch Control label. The press release behind the album talks extensively about fear, a state of mind we have all experienced over the last few months – but it explores how Greed has used it in a positive sense.

He is not alone either, enlisting the services of vocalist Joy Wellboy for the resilient album bookends Roll With The Punches and Not Afraid. Meanwhile Odd Beholder takes over vocal duties for two further songs, The Few and Numbers.

What’s the music like?

Very easy on the ear. Greed writes intimate music that is ultimately comforting, especially in the unison vocal achieved with Wellboy for Roll With The Punches, which is complemented by long, serene melodies. Odd Beholder’s tracks are also cool, offering a good contrast to the instrumentals around, and on The Few there is a nice, full bass.

Of the instrumentals, The Taste Of Dust is effective with the extra atmosphere of its muted trumpet, while the harmonic shades of Wie man unsterbliche Tiere züchtet complement the spoken word sample. The Future Will Repeat Itself has quite an ominous warning but opens out nicely into broader textures, while the sharper tones of Everybody Wants To Live In A Mansion hint at busier dancefloors.

Greed saves the most uplifting and resourceful track until last, Wellboy’s contribution to Not Afraid packing a strong emotional message and depth.

Does it all work?

Yes, and Angst works well as a single unit, its structure paced just right. On occasion I wondered if Greed might flex his muscles a bit more in the percussion department, but subtlety and intimacy are his watchwords here. The vocals complement his thoughtful approach, and the slightly brooding instrumentals really complement the moods we find ourselves in currently.

Is it recommended?

It is – for those who like their electronic music on the mindful side. Greed’s music does have strength in depth, and can act both as a home listening comfort and a quiet but lasting inspiration.

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On record – Gustavo Díaz-Jerez: Maghek – Seven Symphonic Poems About The Canary Islands (Signum Classics)

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Cristo Barrios (clarinet), Ricardo Descalzo (piano), Royal Scottish National Orchestra / Eduardo Portal

Gustavo Díaz-Jerez
Maghek: Ymarxa, Ayssuragan, Guanapay, Chigaday, Azaenegue, Erbane & Aranfaybo

Signum ClassicsSIGCD 612 [two discs, 137’50”]

Producer Matt Dilley
Engineers Mike Hatch, Tony Lewington

Recorded 17-20 November 2019 at Royal Concert Hall, Glasgow

Written by Richard Whitehouse

What’s the story?

Signum Classics issues of its most ambitious releases in Seven Symphonic Poems about the Canary Islands by the Tenerifan-born Gustavo Díaz-Jerez (b1970), a substantial undertaking such as ought to secure this acclaimed composer and pianist greater international prominence.

What’s the music like?

Although Smetana blazed the trail with Ma vlast, his cycle inspired by Bohemian legend and places, few recent composers have attempted such a sequence of interrelated movements – a notable exception being Pascal Dusapin with his Seven Solos for orchestra (1992-2009). This precedent may be significant as, though its subtitle implies something of a ‘suite touristique’, Maghek is the work of one respected for his research into the spectral and physical properties of sound. Not that Díaz-Jerez’s music is rarefied or academic; running parallel to its technical ingenuity is an involvement with Canarian history and topography as evident from the titles of each piece. This does not make for something naively illustrative or pictorial, but it does ensure an evocative dimension is manifest at every stage of a long and absorbing traversal.

It is not clear from Díaz-Jerez’s detailed and insightful booklet notes that the order in which these pieces are heard is the only intended sequence, and whether other permutations may be possible or even desirable. That they were premiered (and presumably can still be performed) individually rather suggests the latter, which itself adds a further layer of fascination to music already awash with mystery and intrigue. A reminder, too, that the image of the Canaries as a choice destination for holidaymakers seeking sun, sea and sand is far from the whole picture.

As presented, the cycle begins in Tenerife with its myriad gradations of light and shade, then to La Palma which unfolds as a concertante piece for clarinet and orchestra in which the latter gradually and ominously assumes dominance. By contrast, Lanzarote is represented by a full-blown piano concerto, a sometimes equable and at other times confrontational means through which to evoke interplay of natural and human elements. The forbidding terrain of La Gomera engenders music of textural intricacy and timbral finesse, then Gran Canaria brings something of a culmination with its cumulative interplay between relative stasis and dynamism toward a visceral climax. Fuerteventura imaginatively explores cultural contrasts and conflicts wrought across time, then El Hierro makes for an understated and even teasingly inconclusive ending.

Does it all work?

Yes, whatever the order in which these pieces are heard. Díaz-Jerez is clearly an orchestrator of ingenuity and resourcefulness, who understands how to realize the potential of his sizable forces, yet this would count for little were his sense of formal evolution not so sure-footed. The playing of the Royal Scottish National Orchestra leaves nothing to be desired under the expert guidance of Eduardo Portal, while both clarinetist Cristo Barrios and pianist Ricardo Decalzo seem fully attuned to music whose technical demands are confidently surmounted.

Is it recommended?

Indeed. The sound has a clarity and lustre which presents this music in the best possible light, while the composer’s annotations shed valuable light on the semantic derivations behind each piece. Do investigate this release, then try Díaz-Jerez’s piano cycle Mataludios (IBS182018).

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You can listen to clips from the recording and purchase, either in physical or digital form, at the Presto website

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You can discover more about this release at the Signum Classics website, and at a special dedicated website for the project here

Playlist – DELANILA

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It gives us great pleasure to welcome composer and instrumentalist Danielle Schwob – aka DELANILA – to Arcana’s playlist section:

Danielle’s selection is a fascinating Transatlantic exchange, mixing the best of America, Estonia, Iceland and the UK amongst others.

The heady violin of Canadian Angèle Dubeau is the first instrument we hear, leading La Pietà in the first movement of Arvo Pärt‘s Tabula Rasa. This leads to a fascinating exploration of American work from Bryce Dessner, Harry Partch and John Corigliano. Partch’s Two Studies on Ancient Greek Scales, for harp and guitar, are especially fascinating – short but perfectly formed and shimmering attractively.

Later we have a spacious excerpt from Adam Schoenberg‘s Finding Rothko, and a track from Thom Yorke‘s music for Suspiria, led by mottled piano. The music of Justin Dello Joio creates fascinating colours, reinventing the piano trio, while violin pieces by David Lang, Anna Clyne, Giya Kancheli and Jakub Ciupinski are inspiring for their open and ethereal air.

Ben Frost‘s Super Dark Times and a movement from John Adams‘ The Dharma at Big Sur explore expansive viewpoints, while PUBLIQuartet‘s reinterpretation of Hildegard von Bingen‘s O ignee Spiritus is a thoughtful and moving response.

Elsewhere we have two encounters with the music of Jóhann Jóhannsson, with whom Danielle worked – his Krókódíll and then the crowning glory of the mix, the fifth and final part from IBM 1401 A User’s Manual – The Sun’s Gone Dim And The Sky’s Turned Black, which sums up how we still miss the composer and also the current lockdown situation.

That’s not to say this selection is maudlin though – far from it. You will I’m sure discover something new as well as enjoy the chance to revel in some beautiful and powerful music, shifting shapes and perspectives. Take the next 90 minutes out and enjoy it.

DELANILA’s album Overloaded is out now via Zyg Zyg.

Sound of Mind 10 – May Blossoms

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As we move halfway through the eighth week of lockdown here in the UK, I thought it a good time to round up some of the best sounds I’ve been enjoying in the last week or two.

The arrival of spring is hopefully in full swing, and there are good signs of creativity throughout the electronic music community.

This playlist begins with the first track of the Conference Of Trees album from Pantha du Prince, before enjoying some rather wonderful pictures brought to us by Peter Broderick, Erland Cooper, Kaitlyn Aurelia Smith and brothers Brian and Roger Eno.

There is brand new music from Bibio, one of the standout tracks from Nathan Fake‘s Blizzards album and to wrap things up a remix of Philip Glass‘s Two Pages by none other than Max Cooper.

Enjoy an hour of escapism!

Ben Hogwood