Tag Archives: Bytes

Switched On – Silver Y: In The Depths (Bytes)

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by Ben Hogwood

What’s the story?

Silver Y is the name under which Sicilian instrumentalist and vocalist Laura Caviglia operates.

In The Depths is a concept album ending in death, but its message is more one of meditation than of darkness. In the words of the press release, it “revolves around the theme of identity loss (Rest Home, Shadow, Self), explores the various stages of coma (Stupor, Sopor) and culminates in death (In The Depths). The closing track, Nam Myoho Renge Kyo, was conceived as a sort of prayer inspired by the Buddhist mantra of the same name.”

Laura describes it as a way of finding peace beyond suffering, an “alternation of light and darkness that, if truly understood, can be experienced as complete light”.

What’s the music like?

In The Depths was written with three analogue synthesizers, drum machine and MIDI keyboard – so has its roots strongly in electronic music.

Yet with the addition of Caviglia’s vocals it becomes something very powerful and striking, taking a healthy influence from the likes of Cocteau Twins and even more uptempo Massive Attack to complement its subject matter.

As Caviglia says, the light ultimately wins through, but to do this a certain amount of strife has to be experienced. Stupor has impressive presence, but Sopor becomes a twisted, large-scale torch song, an impressive achievement indeed.

In The Depths has a moody beauty before the stately grandeur of the finale, Nam Myoho Renge Kyo, provides a moment to gaze upon the stars.

Does it all work?

It does – Silver Y goes deep but comes up with the answers too.

Is it recommended?

Yes – a less beat-driven affair than some previous releases on Bytes, but a compelling one that ends ultimately in a peaceful triumph.

For fans of… Cocteau Twins, Massive Attack, Lush, Spiritualized

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Published post no.2,526 – Wednesday 7 May 2025

Switched On – GLOK / Timothy Clerkin: Alliance (Bytes)

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by Ben Hogwood

What’s the story?

Andy Bell’s GLOK alias has given him a burst of creativity within electronic music – and after his successful Dissident album of 2019 and Pattern Recognition follow up of 2021, he turns to a collaborative approach.

Timothy Clerkin, who runs the Insult To Injury label, met Ride guitarist Bell through the Bytes label, when they suggested Tim be part of the Dissident Remixed album, which was put together in 2019. The two met at the funeral of Andrew Weatherall, and their collaboration was fuelled by Tim finding and playing an old Les Paul guitar. Ideas were traded online between Amsterdam (Tim) and London (Andy), with the instruments equally shared.

What’s the music like?

Empowering. That’s the first feeling that comes through on Empyrean, where subtle adjustments in tuning give the weighty guitar sound an appealing weirdness, and the loping beats add reassuring depth. The same pitch variations work really well on the gritty AmigA, with the bass sound burrowing through the floor, before wordless vocals that instantly transport the listener back to the heady mood of early ‘90s Manchester.

Bell and Clerkin also make groovy music, using slower rhythms that really set themselves firmly on the floor, with rich colours above. Scattered is one of the more obvious pieces of Weatherall homage here – in a good way, while The Witching Hour goes acidic with all sorts of electronic squiggles taking over. Closing out is the brilliant E-Theme, a kind of Hacienda-Detroit meeting place where airy synths complement blissful vocals.

Nothing Ever is the home banker, with vocals from Du Blonde – aka Beth Jeans Houghton, adding a rich tone to the electro-disco footwork underneath.

Does it all work?

It does – and repeat listens reveal several earworms. Once made known, they refuse to leave!

Is it recommended?

It is indeed. This is a fruitful partnership, blessed with freedom and enjoyment – and proves to be a slow burner that increases in temperature with each listen!

For fans of… Death In Vegas, Andrew Weatherall, 808 State, Stereo MCs, Primal Scream

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You can explore buying options on the Bandcamp link below – and also read Arcana’s extensive interview with Andy from 2019, when he was not long starting out under the GLOK alias.

Published post no.2,361 – Wednesday 13 November 2024

Switched On – Minotaur Shock: It All Levels Out (Bytes)

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by Ben Hogwood

What’s the story?

It All Levels Out is described as ‘a hopeful meditation on getting older’ by its composer, David Edwards. This is Edwards’ tenth album under the Minotaur Shock pseudonym, and by common consensus is his most personal and reflective album to date.

Influences on his compositional approach this time around are quoted to be Hiroshi Yoshimura, Steve Reich, West Mineral Limited, Visible Cloaks and Bark Psychosis.

Edwards describes his music as an acceptance of finally knowing yourself, an approach of equal parts ambience and confidence.

What’s the music like?

This is music where the mind can immediately kick back – though it still rewards close-up listening. Edwards works with a refreshing palette of textures and colours, using quite minimal riffs to power his music but giving them room to grow as the tracks evolve.

Because of that it’s easy to equate his music with living, growing plants – which the title track embodies, with the way it expands gradually from soft, primitive beginnings. The ambling piano is like an easily moving stream.

As the album progresses we get more of Edwards’ subtly voiced creativity, from the melodic ideas that take root on Memory Crates, which is more bleeps and dots, to the brightly lit activity on Moral Progress.

Recognise You Anywhere takes time out, Edwards evoking dappled light through colourings that certainly sound more Japanese in origin, especially when they grow in stature. Molding Physical Air enjoys a similar profile, while Launching The Kids carries greater weight. The closing With Me is initially darker but ultimately wistful.

Does it all work?

It does. Edwards is a subtle companion, shading each piece of music rather beautifully with layers of carefully chosen instrumental colour. When you stand back, you can appreciate the whole as well as the construction.

Is it recommended?

It is, enthusiastically. It’s great to have Minotaur Shock back, and the pastoral overtones of this album are beautifully weighted and suited for this time of year, extending their tendrils into the northern hemisphere autumn.

For fans of… Bibio, Boards of Canada, Baths, Grasscut

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Published post no.2,342 – Friday 25 October 2024

Switched On – Jordan Stanley: A Cry For The Moon (Bytes)

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by Ben Hogwood

What’s the story?

Jordan Russell-Hall, aka Jordan Stanley, is described in his publicity material as a musical magpie, a sampler pilfering material from Charli XCX, Mr Mitch, Ariana Grande and Jimmy Edgar. To these carefully chosen snippets he adds richly coloured synths and busy rhythms that have garnered stylistic comparisons with the likes of Hudson Mohawke and Rustie.

What’s the music like?

Often thrilling, especially when the synths are involved. Stanley gets big blocks of harmony on his side, using them in scattergun fashion to blaze a trail through the busy percussion.

Sometimes the music can move quickly, as though skating across a dancefloor, but he also knows when to pull it back and pan out for wider thoughts. This happens very effectively on Fog, which hovers on a held chord with vibrato before cutting loose, and Impossible, which starts thoughtfully before chopping up its source material.

Pure Morning has a glitchy outlook, while Fascination works well with the tension it creates through rapid piano fire and a relatively slow beat. Quicksand is a thrill that harks back to early rave in its massive parallel chords, Overt is harder hitting, but then the title track goes for broke, a massive production enveloping the listener in huge, floes of icy sound.

Does it all work?

It does – and Stanley works at speed, meaning his ideas never outstay their welcome. Indeed the whole album, with nine tracks, is wrapped up in less than half an hour.

Is it recommended?

It is – a dazzling and colourful set of synthesizer grooves, cutting their way through the noise.

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Switched On – A Lily: Nocturne Thunder EP (Bytes)

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reviewed by Ben Hogwood

What’s the story?

James Vella returns with a companion piece to his 2020 album as A Lily, Sleep Through The Storm. Where that record was about loneliness and coming to terms with the challenges of the modern world, Nocturne Thunder is built as a more celebratory affair, dancing in the face of adversity. Its five tracks are linked, lasting around 25 minutes in all.

What’s the music like?

Ambient, but active at the same time. Vella’s music is full of primary musical colour, the dappled textures dancing on the surface as the opening track, Like Rising Smoke, takes shape. Its stately bass progression is offset by the figures up above which circle like birds in the half light. There are no drums, but still movement aplenty.

The mid and lower ranges take over for Unnatural Animals, which pulses with movement, driving forward more obviously even though still operating without the influence of a kick drum. This sonorous section promises deeper blues and more nocturnal activity, whereas To Seek Ecstasy In The Dawn brings us to the first light itself. The music gains a deeper and more obvious warmth, shimmering again in the heat haze.

Balafon Heart is an imperious sequence, beautifully judged as a slow bass and gradually shifting treble operate together, before Like A Hymn picks up momentum, light on its feet as we seem to take to the air. Consonant harmonic loops bounce off each other in Vella’s working.

The songs were built live by Vella, and it shows in their instinctive execution. His ear for structure is just right, knowing when to make the most of a mood and when to switch forwards to the next.

Does it all work?

It does. Ideally Nocturne Thunder should be experienced in one sitting, as it is effectively a short DJ set by one person on a bank of synthesizers. It is a descriptive and involving whole.

Is it recommended?

Yes – warmly so. If you have not yet heard Sleep Through The Storm then you should rectify that immediately, and by contrast if you are already familiar with Vella’s work then you will lap this one up too.

Listen and Buy