Switched On – Luke Abbott: Translate (Border Community)

reviewed by Ben Hogwood

What’s the story?

This may be Luke Abbott’s first album in six years, but as regular followers of the Norfolk-based musician will know, he has been extremely busy in that time, forming the widely acclaimed Szun Waves with Jack Wyllie and Laurence Pike.

For this album Abbott changed his recording habits, decamping to friend and Border Community head James Holden’s London studio for the sessions. He sat in the centre of the studio with eight speakers around, but had an additional receiver in the corridor to catch passing sounds on the industrial estate where the studio is located.

What’s the music like?

Richly rewarding. As listeners to previous long players Holkham Drones and Wysing Forest will know, Abbott has a deep knowledge of synthesizers and orchestrating their sounds, and that skill runs throughout Translate to extremely good effect. Kagen Sound – a track celebrating the puzzle box – is a really strong start, a majestic track with some wonderful analogue tones.

Earthship feels like the workings of a great big machine lumbering into action, while the way the melodic lines intertwine on Our Scene is really clever. The mellow Roses may be brief but it shows how Abbott can harness the different tones of his instruments, coming as it does after the ripple effects of Ames Window, a really substantial piece of work.

To his immense credit Abbott puts a great deal into his rhythm section, very rarely using a basic four to the floor pattern and often using, in tracks like Living Dust, intriguing syncopations that lean the main beats anywhere he chooses. Finally Luna and August Prism close out the album in kaleidoscopic colour.

Does it all work?

Yes. Abbott is meticulous with his planning and quality control, and the production with James Holden has led to a nice air of spontaneity in his work. The sounds are to die for as well.

Is it recommended?

Yes. A study in instrumental colour and rhythmic intrigue, Translate is an album that handsomely repays repeated listening.



Switched on – Luke Abbott: Kagen Zorn

Today’s scheduled article for Arcana was to be a review of Laurence Pike’s new album Prophecy. Yet in a rather nice coincidence he has been moved politely aside for news of the return of his good friend and Szun Waves teammate, Luke Abbott.

Abbott has revealed news of a first solo record in six years, with Translate due to be released on 30 October by Border Community. Along with the announcement he has shared ‘Kagen Sound’, an intriguing first track from the album. Described – accurately as ‘menacingly driving but punctuated with endearing flourishes’, it is a compelling listen.

Abbott himself says, “Kagen Sound is one of the simpler tracks on the record, it’s based around the Korg Monopoly, which is one of my favourite sounding synths. The track is named after an American puzzle box maker, he makes the most incredibly intricate wooden puzzle boxes. I’ve been interested in puzzle boxes since I saw Hellraiser when I was about 11 years old, maybe I shouldn’t have seen that film so young. To me the track feels like a a huge opening in the earth, like a cosmic doorway, which is why it’s the opening track on the album.”

Translate will be released with the artwork below, a drawing begun by Abbott’s son and finalised by Luke himself.