Tag Archives: John Tejada

Switched On – John Tejada – The Watchline (Palette Recordings)

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by Ben Hogwood

What’s the story?

The press release for John Tejada’s new album puts his subtle shift in musical direction in perspective. The Watchline is described as “a quiet evolution in tone and form”… “emotionally focussed, sonically weathered”.

His fifteenth album, it is a more personal affair, more than likely influenced by experiencing the trauma of the 2024 fires in California, more or less on his doorstep.

What’s the music like?

Tejada’s deeply personal writing is some of his best music yet. Always a consistent producer, he has often explored the mechanical side of techno to excellent effect – but this time, bringing in tightly woven guitar lines and strong, solid beats, he has hit the sweet spot.

Until The End Of The World encapsulates where he is right now, a dynamic track that builds gradually but with increasing strength and depth, and an underlying feeling of strength in adversity.

Tejada uses a beefier sound here, with bigger drums that are especially evident on the scattered beats of Hollowcrest and the excellent Vaporail, a broken beat shapeshifter. Elsewhere there are widescreen panoramas, with the broad expanse of Driftreturn a notably open affair, while Static Searching benefits from an excellent blend of strong, danceable rhythms and electronic chatter, topped with guest vocals from March Adstrum.

Does it all work?

It does. A cohesive and really strong set, with no weak links.

Is it recommended?

It is. Always a consistent producer, John Tejada has excelled himself here with some of the finest music he has made to date. Emotive and beautifully weaved together, this is a deeply rewarding collection of subtle yet meaningful techno music.

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Published post no.2,659 – Tuesday 16 September 2025

Switched On – Optometry: Lemuria (Palette Recordings)

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by Ben Hogwood

What’s the story?

Optometry – John Tejada and March Adstrum – return with a second album. Lemuria is described as a ‘sci-fi musical diary – a deeply personal record that processes the year’s events through introspection and creative exploration’.

By way of background, Tejada is known as a quality source of largely instrumental techno, while Adstrum is a guitarist and vocalist, whose parents played baroque violin. She toured backstage with a number of their ensembles.

This time the pair share production duties, realising the whole project in person and with lyrics taken from Adstrum’s diary entries. The songs ‘explore themes of rebirth, loss and closure.

What’s the music like?

There is certainly a wider range of emotions on this album than the pair’s After-Image debut, though there is a strong sense of melancholy that can be felt in the downtempo offerings. Unanswered captures this keenly, Adstrum singing of “another step on the treadmill”, before changing gears for the excellent Never Coming Back, a compelling quicker number.

Fear (Is The Mind Killer) is expressed through a twisted synth line, whose presence is a vivid source of anxiety. Distortion of a different kind pervades the slow and stately Target Practice. Emphasising the contrasts on the album, resignation is the overriding feeling on Antidote, but Bon Voyage promises a great deal more with its bubbling energy.

Does it all work?

It does, largely – with an instinctive meeting of minds that works well. Lemuria is defined as “an annual event in the religion of ancient Rome, during which the Romans performed rites to exorcise any malevolent and fearful ghosts of the restless dead from their homes”. This is not necessarily a dramatic rite, but a therapeutic one.

Is it recommended?

It is. Tejada and Adstrum have a compelling musical chemistry and their storytelling is well worth following.

For fans of… Steffi, John Tejada, Francis Harris, Michael Mayer

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Published post no.2,459 – Friday 28 February 2025

Let’s Dance – John Tejada & Silent Servant: The Monitors (Redux) (Palette Recordings)

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by Ben Hogwood

What’s the story?

While it is great to report a redux of The Monitors single originally released on vinyl in 2011, it takes place in tragic circumstances – for the death of Silent Servant – aka Juan Mendez – was announced only two weeks ago.

The two were good mates and frequent collaborators, and as you will read from this excellent interview and tribute, John Tejada decided to press ahead with the release in tribute to a dear friend. Mendez contributed the design, as well as updating the drum tracks – while Tejada gave the release a fresh master.

The two have a rich history in electronic music, sharing a release in 1995 on Cytrax – and as Tejada points out, this is one of his final releases on Palette Recordings.

What’s the music like?

This is classic instrumental techno. Control makes itself known with a solid beat, which drops out to introduce the main subject, a repetitive and minimal riff in close harmony that sounds close up to the ear, but is put in perspective by clips of much more distant vocals. Towards the end the driving rhythm drops away to leave an atmospheric musical cloud.

Protection starts with the same riff and a spoken word segment in the middle distance. “Depend on The Monitors”, the public address says…and the track kicks into gear with a more intimate feel this time. That is enhanced by the addition of warmer pad sounds.

Does it all work?

Yes – the pair complement each other really well.

Is it recommended?

You know what to do – this is classy Detroit techno given a polish but sadly loaded with extra poignancy. A fitting memorial to a talent who will be much missed.

You can read a tribute to Silent Servant by the Guardian here

For fans of… both Silent Servant and John Tejada, also Terrence Dixon, Kenny Larkin

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Published post no.2,076 – Saturday 3 February 2024

Switched On: John Tejada – Resound (Palette Recordings)

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by Ben Hogwood

What’s the story?

The incredibly prolific John Tejada returns with his 15th album – this time pruning his music down to the bare essentials.

With seven tracks clocking in at 36 minutes, this is a record that looks for economy, Tejada having undergone a rigorous quality control process to get it released. As with much of his music the outlook is instrumental, though there is a vocal guest – March Adstrum – on the central track Fight Or Flight.

What’s the music like?

Tejada consistently impresses with his ability to write huge amounts of fully satisfying techno music that – while largely machine generated – has a profoundly beating heart.

As with much of his work, four to the floor is the base on which he operates – but there are always percussive nuances and melodic lines that keep the listener’s interest high and the dancer’s feet ready to go. Starting with woozy atmospherics, the single Simulacrum soon sets down a strong 4×4 beat, bolstered with extra percussion.

Someday has a golden glint to its production, shining through the hazy white noise. The Disease has that lovely steadying quality that Tejada can bring to his music, while Fight Or Flight – with an excellent contribution from March Adstrum – has lovely warm colours and shimmering textures. Centered is a funky piece of work – and a fine one at that – but Trace Remnant is even better, bolstered by Different Mirrors as a coda.

Does it all work?

It does. Tejada has an established style with intricate workings that repays repeated listening – and the golden haze he secures here is rather beautiful.

Is it recommended?

It is. John Tejada remains on top form!

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Published post no.2,006 – Saturday 11 November 2023

Switched On – Optometry: After-Image (Palette Recordings)

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by Ben Hogwood

What’s the story?

Optometry is a new collaboration between John Tejada, known as a quality source of largely instrumental techno, and March Adstrum, a guitarist and vocalist of intriguing musical stock – her parents played baroque violin and she toured backstage with a number of their ensembles.

The press release describes how the band focus on themes of life, love and loss, weaving seductively melancholic textures together with synths, drum machines, guitars and bass.

What’s the music like?

The reason for quoting the press release above is that it presents a wholly accurate description of what has the potential to become a very strong musical outfit. Optometry make intriguing and subtly unpredictable music, cool to the touch but with more than a little emotion bubbling beneath the surface.

When it starts, After-Image sets out its stall to become a quality source of sharp edged electronic pop, but as it unfolds there is actually more to it, as Tejada and Adstrum make room for some experimentation and a number original thoughts.

Chameleon struts out confidently, with a strong beat and a vocal of glassy clarity. Technicolor is bathed in bright harmonies, but the experimentation bears fruit in Falling, featuring Mason Bee, which adds an intriguing bit of bossa flavour with sighing strings. Bee reappears on Larger Than Me, a vulnerable song that asks repeatedly, “do you still think about me?” By contrast the closing Cathedral is worth noting, too, a short sound poem that paints an impressionistic picture of sound, with plenty of echo and refraction that brings snatches of vocal and great, wide spaces to the listener’s ears.

Does it all work?

Pretty much. The only criticism to level at Optometry is that on occasion it feels like their ideas could be more fully developed, especially Cathedral which hints at a haunting ambience it would be great to hear more of.

Is it recommended?

Yes. An interesting listen, and evidence of the musical versatility that John Tejada and March Adstrum hold. It’s a grower, too.

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