Switched On – Daniel Patrick Cohen: We Deliver (Backlash Music)

Reviewed by Ben Hogwood

What’s the story?

When making his new album We Deliver, Daniel Patrick Cohen became obsessed with short tracks whose function would be to act as bridges between album tracks, or introductions to more substantial offerings. As his love of this form grew, he developed a great respect for 20th century hip hop producers and their ability to write focused interludes that became a work in themselves.

Resolving to write an album based on the form, Cohen describes his new release as ‘a lo-fi work entirely made up of these throwaway-type tracks. My intention is explicitly for it to be exactly the sort of weirdo record that an imaginative producer may find a dynamite sample from’.

What’s the music like?

On the evidence of We Deliver, Cohen’s wish may be granted – for this is a fascinating and invigorating set of 32 tracks, with a myriad of guests and a huge range of styles. Cohen’s magpie approach works especially well though, and the well chosen guests bring a great deal of character and humour to proceedings.

A word about those guests – especially vocalist Alice Zawadzki, saxophonist Joe Wright, multi-instrumentalist Dan Berry, violinist Róisín Walters and pianist Alexandra Făgărășan. Zawadzki is the vocalist stopping the listener in their tracks on Wild fig and ginger handwash, while the vocalist on the humourous Shopping With Violence is James Murray, who picks up the amusing track as an answerphone message later on. It is genuinely difficult to pick out highlights from the album but it is certainly worth mentioning the good deal of wah wah funk applied to That’s not how it works in this world I’m afraid, and the really nice, slightly warped play on the vocals of Puteți avea o familie fericită.

The pizzicato strings and the odd jarring noise of Wait your kid here are distinctive, cutting to a flowing piano on Buy priority through security. The hesitant wind instrument choir on Change the sentences so they have the same meaning are rather charming, as is the lovely coarse violin from Walters on the intriguingly titled They are a nuisance and a possible health hazard. Meanwhile the vibrant strings and piano of Repeat, producing a rich lather (!) are also winsome.

Does it all work?

It does – Cohen leaves you wanting more at the end, in spite of 32 tracks! Often the ideas are good enough to support more substantial pieces of work, and occasionally you will be left wishing he had developed his thoughts more. That said, sticking to the rules of duration is crucial in this sort of album, and it works a treat.

Is it recommended?

It is, enthusiastically, as music with a light touch but also a great deal of content. Cohen marshals his troops brilliantly – and as such his playlist for Arcana should also be recommended!

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On record: Wooden Elephant: Landscapes, Knives & Glue – Radiohead’s Kid A Recycled

wooden-elephant

Wooden Elephant [Aiofe Ní Bhriain, Hulda Jónsdóttir (violins), Ian Anderson (viola, arrangements), Stefan Hadjiev (cello), Nikolai Matthews (double bass)

Backlash Music [59’29”]

Reviewed by Richard Whitehouse

What’s the story?

The quintet Wooden Elephant releases its take on Radiohead’s seminal album Kid A, second in its reworking of game-changing albums that commenced in 2016 with Björk’s Homogenic then continued in 2018 with Beyoncé’s Lemonade, on the enterprising Backlash Music label.

What’s the music like?

When it appeared in autumn 2000, Kid A not only redefined what even as forward-thinking a rock band as Radiohead was capable of, but also topped the mainstream charts on both sides of the Atlantic. Thus, an album as artistically radical as it is commercially successful such as violist Ian Anderson has made it his mission to reassess. Each of the musicians plays a range of sundry instruments (what improviser Jamie Muir would have deemed ‘allsorts’), yet they are extensions to the already inclusive string sound on which these ‘arrangements’ are based.

After the gradual merging into focus then rhythmic and melodic clarifying of Everything in Its Right Place, the subdued moodiness of Kid A is afforded a ruminative treatment which reveals an unsuspected poise in the melodic line and whimsical twist to the accompaniment. The rhythmic obsessiveness of The National Anthem gives rise to an invigorating textural workout that spills over into mayhem towards the close (who needs an orchestra?) – and to which the video’s Jarmusch-like interplay of drink-stirrers with woodland inhabitants offers an intriguing complement. A siren-song reverb from wine glasses then segues into How to Disappear Completely whose brooding eloquence and lilting gait make it a highlight now as then, while Treefingers is no less arresting given its ethereal emergence and timbral finesse.

The propulsive syncopation of Optimistic effects a vibrant and soulful – if, in this context, relatively straightforward – response, with the hymnic preamble then stealthy integrating of rhythmic and melodic elements across the course of In Limbo satisfying in its immediacy. Nor is there anything predictable about Idioteque with its plaintive unfolding set against a pulsating undertow that drives towards a febrile close, out of which the lucid melodic profile of Morning Bell is maintained from its tentative arrival to its sudden disintegration. It duly remains for the aching pathos of Motion Picture Soundtrack to provide a heartfelt ending; here with its (unintended?) postlude, which is often tracked as Untitled on digital versions of the original album, serenely dissolving into a melange of ricocheting chordal patterns.

Does it all work?

Almost always. Something that was never quite a rock album has provided ideal material for an ensemble that is not quite a string quintet, Wooden Elephant taking full advantage of this stretching of musical and conceptual boundaries to come up with what is an absorbing listen in its own right. Just occasionally the ensemble’s interplay evokes those bluesy harmonies of Quintette de Hot Club de France, but this serves to throw the more experimental aspects of its approach into provocative relief. Nor does the vividly defined sound leave anything to chance.

Is it recommended?

It is. This is an ideal opportunity to reconsider a key album from the turn of the Millennium, finely interpreted by a sympathetic and resourceful ensemble. Wooden Elephant is giving a performance in Potsdam this November, with hopefully further hearings to follow in the UK.

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Further information

For more on Wooden Elephant, click here, and for more on Backlash Music, click here