Today’s playlist of music for the mind has an orchestral theme, which will hopefully bring you some colour if you’re stuck indoors.
This one features Aaron Copland‘s brightly-scored ballet music Appalachian Spring, the first movement of Rachmaninov‘s Second Piano Concerto, Elgar‘s Sospiri, shorter works by Grieg and Debussy, and Vaughan Williams‘ timeless Fantasia on a theme of Thomas Tallis:
I hope you enjoy it – and stay tuned for some uplifting Friday vibes tomorrow!
Ben Hogwood
Following on from yesterday’s playlist of music for the mind, here is a song-based sequel for you to enjoy if you’re cooped up indoors.
Again it is a random selection compiled from some personal favourites, with appearances from Talk Talk, Richard Hawley, Goldfrapp, Björk and Erland Cooper.
I hope you enjoy it – and stay tuned for a third, classical installment tomorrow.
Ben Hogwood
With the world in such a weird place at the moment, now seems like a good time to share a playlist of ambient music to ease the mind.
This one, homemade on the hoof, includes some personal favourites from Steve Reich, Philip Glass, Brian Eno, The Orb and a whole lot more:
I hope you enjoy it – and if you have any suggestions for future playlists please get in touch. Happy to do a whole load more!
Ben Hogwood
reviewed by Ben Hogwood
What’s the story?
NY, Hel, Barca are the abbreviations of the three cities Finnish producer Jimi Tenor has called home at some point in his life. They also form the title of a retrospective looking at his early career, a double album bringing together music made largely before signing to Warp. That means pride of place for Take Me Baby, the track that got him signed – but which we find is not typical of his output of that period. It is therefore up to Bureau B to give a balanced overview from his first six albums in total.
What’s the music like?
In a word, eclectic – but many more words are needed to do justice to the sheer variety of the sounds here. When Tenor (real name Lassi O. T. Lehto) embarked on his solo career in the early 1990s the presence of jazz was strong in his music, but this selection shows how he has used it to infuse a variety of genres.
Tenor can be something of a master in deep house (A Daughter Of The Snow), but thinks nothing of more wild, experimental musings like Tesla, where the saxophone takes centre stage. There is chunky and cheeky house, the best of which is a genuine anthem, Age Of The Apocalypse – and uncomfortably suitable for the present day, facing its demise but having a great time while doing so! Spell casts off its cares for a few funky choruses, Rubberdressing is as elastic as its name implies, while Sugardaddy throws a few glam rock rhythms into the mix. Then there is Take Me Now – still a deadpan winner 26 years on.
Does it all work?
Most of the time. Some of Tenor’s earlier productions show their age, especially the more salacious house tracks – but overall this is a really rewarding and stimulating collection of music. It is well chosen and well programmed, but shows off his original instincts. None of this music is routine, and a lot of it is really good fun.
Is it recommended?
Very much so. An excellent collection of a producer who has been a deserved mainstay of electronica’s top table for more than two decades, and whose music can cover a wide selection of dancefloors. It should encourage listeners to delve even further into his considerable early output. I know I will!
Stream
This Spotify playlist very helpfully brings together all the tracks on Jimi Tenor’s collection:
Buy
You can buy this compilation from the Rough Trade website here
reviewed by Ben Hogwood
What’s the story?
Suddenly may well be an ironic title, given that it marks the reappearance of Caribou as a long playing solo artist for the first time in five years. The artist – aka Dan Snaith – has bewitched us with a number of solo albums blending instrumental electronica and a warm vocal. The last two under the pseudonym of Caribou – Swim and Our Love – were also released at an interval of half a decade, suggesting Snaith has a relaxed rhythm about his music.
What’s the music like?
There is a lot going on in the twelve tracks of Suddenly. Snaith loves to write layers in to his music, so that even the vocal tracks have a collage of instrumental riffs and colours backing them up. A lot of love and care has clearly gone into them, and a good deal of soul shows through too, Snaith coming across as a warm-hearted writer generous with his riffs and hooks. There are deep personal references, too, with Snaith’s mother appearing briefly on the opening Sister.
On occasion, however, he can be too generous. Some of the tracks start to get going but get chopped up and don’t get a chance to fully flex their muscles. It is possible that Snaith has included too much from his reported 900 experimentations that led to the album, as though desperate to cram as much in as possible. There are moments of real beauty in tracks such as Sunny’s Time, with the freedom of its meandering piano, or New Jade with its dappled textures, but they prove fleeting rather than constant.
Never Come Back is a definite exception, a warm and heartening synth-driven piece of positive energy, up there with Caribou’s best tracks. Ravi is up there too, as calming as the blue cover, while there are soft, rounded vocals with a rueful edge on Like I Loved You.
Does it all work?
See above. When Caribou nails a good track it certainly stays nailed – but on occasion there is a bit too much going on. The feeling persists that some of the more driven beats – Ravi or Never Come Back for instance are where we see some real punch to the rhythms.
Is it recommended?
Yes. Even on an album that proves a little frustrating it is impossible not to be impressed or moved with what Caribou can achieve. He is a fine producer of some very optimistic and affirming music. Fans will lap it up for sure – but newcomers might be better directed to some of the albums further back in the canon.
Stream
Buy
You can buy Suddenly from the Bandcamp website here
Arcana.fm 