Tag Archives: music

On Record – MF Robots: III (Part One) (Good People Records)

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Reviewed by Ben Hogwood

What’s the story?

MF Robots is proving to be an unstoppable train of feelgood music. The project was begun by Brand New Heavies founder Jan Kincaid together with former band vocalist Dawn Joseph, with the idea of achieving musical liberation without any ties to genre.

Despite that, soul, funk and jazz inevitably feature high in the mix, with the two linking on a series of carefree club-based songs.

What’s the music like?

Summer was invented for bands like MF Robots! Their music takes you into the sunshine with immediate effect, as soon as the opening strains of That’s The Way kick in. This breezy first song is backed up by the call to arms that is Children Of The World, a classic soul number.

Cares are well and truly thrown to the side as the album unfolds, with a style rooted somewhere in the late 1970s of Earth, Wind & Fire but with Brazilian, jazz and soul thrown in to the melting pot in liberal measure. Through The Pain is the pick of these freer numbers, a persuasive sway to its rhythms and heat-soaked keyboards.

The Pressure offers a sultry complement to the quicker tracks, while Glide, a love story, and Hello Sunshine offer up radio-friendly choruses. Lay It Back, meanwhile, harks back to the best, communal numbers of the Brand New Heavies.

Does it all work?

The best indication of the effectiveness of this album is that once it finishes you’ll want to hear it all over again. It may be short, but III delivers!

Is it recommended?

Yes, enthusiastically. Dawn Joseph has a great voice, and the band deliver summery funk in abundance. If you have an acre of sunshine to fill, use MF Robots as your soundtrack!

Listen / Buy

Published post no.2,853 – Friday 10 April 2026

Switched On – Hawksmoor: Am I Conscious Now? (Before I Die)

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Reviewed by Ben Hogwood

What’s the story?

James McKeown continues to move on apace with his Hawksmoor project – now numbering 13 releases in under a decade. His speed of thought is ironic, since the music he makes is not typically fast in any way, rooted in immersive ambience.

Though, as McKeown says, “While rooted in ambience, the work frequently shifts into more unsettling territory. Song structures and striking melodies appear more often than expected; ideas are sparked by psychogeography, environmental influences and hauntological drift.”

For Am I Conscious Now?, McKeown spent time shaping his music with the help of psychedelic compound 5-MeO-DMT, keen to explore how the substance might affect his music. The compound is supposed to clear the mind rather than overload it. Again, in McKeown’s words, “It overrides the body and forces surrender. It completely changed my life, outlook and perspective.”

What’s the music like?

Am I Conscious Now? responds to the experience with calm reflection. At first the worry is that the mind is cleared not just of thought but of emotion too, yet as the music settles down the ear responds well to McKeown’s subtle harmonic workings.

Initially the music is blocks of distorted but thoroughly ambient sound, but the mood softens with Golden Dolphins, a proper New Age-infused beauty. Vivid colours assert themselves through Flooding A Maze (In Slow Motion), with an extra zing added to the timbre of Infinite Tapestry.

Luke Insect’s textured artwork for the album serves as a template for the music inside, with McKeown navigating peaceful waters (Ti Kallisti, Into The White Sun) and fluctuating vistas (Astromeria) in the lead-up to the end.

Does it all work?

It does, largely – and certainly slows the mind while listening.

Is it recommended?

It is. James McKeown is remarkably consistent in his writing but also manages to avoid visiting the same place twice. A conscious yet comforting ambience is the result here.

For fans of… Flying Saucer Attack, Matthewdavid, Bvdub, My Bloody Valentine

Listen / Buy

Published post no.2,851 – Wednesday 8 April 2026

New Music – Stuart Bowditch: Constable Stereophonic Vol. 1 (Courier Sound)

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by Ben Hogwood, with text lifted from the press release

Another in the 24HR series featuring pure field recordings, Stuart presents some excerpts of recordings he has been making for Constable Ambisonic in 2025-26. The premise of this project is to make 20 one hour long ambisonic (360º) audio recordings of the locations of paintings by John Constable. Excerpts of the audio will be exhibited with the original paintings at Christchurch Mansions in Ipswich during ‘The Hay Wain: Walking Constable’s Landscape‘, to celebrate the 250th anniversary of his birth. 

20-minute excerpts can be found on the Stuart Bowditch Podcast, and on his Soundcloud page. Some full length recordings are available as a #slowwtv film on the project YouTube channel, where you can subscribe, follow or share.

Constable Ambisonic is supported using public funding by the National Lottery through an Arts Council Project Grant, with match funding from Colchester and Ipswich Museums, and support from National Trust, Flatford.

Stuart has been recording sound in urban and rural environments since 2005 with artist residencies in Canada, Austria, Portugal, Rochester, Felixstowe, Southend and Colchester. His work has been exhibited internationally in China, Iceland, Germany, Sweden, Denmark and nationally across Essex, Suffolk, London and further afield in the UK. The cassette is presented in a bespoke cover individually cut from recycled card stock by Nick Dawson (Eumig/Details), with text and artwork inserts, a Constable Ambisonic sticker and released in a limited edition of 20.

Published post no.2,850 – Tuesday 7 April 2026

New Music – Speedy J: Arp Δmp Chasm (STOOR)

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by Ben Hogwood, with text lifted from the press release

Contemplating the role of the album format in an attention-deficient society, Speedy J presents Walkman — a constantly shifting, 90-minute soundtrack to a journey of your choice. Jochem Paap‘s first solo album in over 20 years is a freewheeling, 20-track testament to his decades-deep studio skill and sonic versatility, running from skewed rhythmic rabbit holes to exploratory tonal abandon. You can listen to the first single, Arp Δmp Chasm, below:

For Paap, the traditional idea of the album had become obscured by listening habits and the non-stop information barrage of our digital lives. Having moved on from his breakthrough years releasing LPs and touring off the back of them, he was more inspired to develop his many-sided STOOR project and feed into a bigger artistic body of work than the temporary shelf-life of a single release. As is natural for any artist, his perspective shifted over time and he found himself drawn back to the idea of an album, realising he connected best with longer releases while he was on a walk, out for a run or generally in transit one way or another.

With an endearing call back to the humble Walkman, Paap (above) selected an hour and a half of material created during studio sessions at the beginning of 2025, perfectly sized to fit on two 45-minute sides of a cassette tape. As has long been the case for his studio practice, there were no fixed intentions when sitting down in the STOOR lab to start making noise — just a wealth of experience and an expansive set of tools to start exploring with. From hours of jams Paap pulled together standout moments and moulded them into a mixtape-like narrative ranging from two-minute beat nuggets to full-tilt techno workouts and immersive ambient drops. Every sound is intentional, but the overall delivery is instinctive and curious, showing multiple new dimensions to Paap’s sound and offering unpredictability at every turn.

‘Arp Δmp Chasm’ opens the album up in a thick blanket of humming, harmonic waves with an electric emotional charge, while ‘Ctrssalms17 (Cold Render)’ journeys through evocative blooms of melancholic, gritty pads and rugged, half-submerged tech funk. ‘Modern Birds (Origin Edit)’ reaches skywards with grand sweeps of dynamic, brilliantly rendered synthesis. From the dexterous drum science of ‘Drift Vector’ to ‘Osc Hop (Slow Collapse)’s lurching, beatless swamp of synths, on Walkman even the briefest snapshots leave an impression that lasts beyond the quick-scan cycle of the modern music experience.

With his return to the album format, Paap’s message is clear – put your headphones on, get outside and lose yourself in the sound of an artist constantly committed to moving forwards.

You can also listen / purchase on Bandcamp:

Published post no.2,844 – Wednesday 1 April 2026

Switched On – Ben Seretan & John Thayer: Sunbeam Of No Illusion (AKP Recordings)

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Reviewed by Ben Hogwood

What’s the story?

Sunbeam Of No Illusion takes its title from correspondence between Ralph Emerson and Walt Whitman, which is described as “cheeky acknowledgement of the mutual admiration of this project’s partnership”.

For this is the first time Ben Seretan and John Thayer have worked together directly on a project, though their musical paths have crossed on occasion before. Here, they blend largely spontaneous instrumental thoughts with field recordings, literally throwing open the studio door to let the light in – the sunbeam of the title, perhaps. The list of instruments used gives an idea of the density of the project, and the variety of sounds open for use:

Ben Seretan is credited with Fender Rhodes Piano, Moog Matriarch, Juno 106, Supro Lap Steel, Lowrey Organ, Teenage Engineering KOII, Electric Guitar and Assorted Guitar Pedals, while Thayer is listed on Lexicon Prime Time, Delta Labs Effectron II, Crystal Rattles, Temple Block, Brushes, Grass Shakers, Field Recordings, Digitakt, Modular Synthesizer, Tape Echo and Tascam Porta Studio.

What’s the music like?

Extremely restful. This is the musical equivalent of sitting under a big tree in warm weather. There is a breath of breeze here and there, and occasionally the leaves part to reveal a warm burst of sunshine – or they might close in with an unexpected chill.

Whatever happens, the music is drenched in appealing, consonant harmonies and warm textures, beckoning the listener out into the open. Some of these figures are elusive, such as on Memory Garden or Little Winds, where the music floats delicately and wisps of melody make themselves known. The electronic breeze on Valley Spirit is immediately appealing, while the closing Peat Fire, an evocative number with cymbals imitating kindling, is a beauty.

Does it all work?

The unhurried nature of this music is an antidote to fast-paced living, with Seretan and Thayer’s instinctive improvisations unfolding in their own sweet time.

Is it recommended?

It is. An album where the listener can get close to the wind and the trees without having to leave the room they are in, basking in the delights of what Ben Seretan and John Thayer have created. Their descriptive musical pictures are an ambient delight.

Listen / Buy

Published post no.2,843 – Tuesday 31 March 2026