Tag Archives: Mute

Switched On – Alessandro Cortini: NATI INFINITI (Mute)

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by Ben Hogwood

What’s the story?

Nine Inch Nails’ Alessandro Cortini has established himself as a solo musician and producer of some repute over the years, working alone on impressive electronic scores sich as 2021’s Scuro Chiaro or teaming up with Daniel Avery on 2020’s hugely impressive Illusion Of Time. His list of collaborations and remixes carries some weight, too, either under his own name or the pseudonyms of SONOIO, Blindoldfreak and Modwheelmood.

NATI INFINITI began life as an audio installation for the Museu de Lisboa’s Fábrica da Moagem, running across all four floors of the disused flour mill. To prepare it for this release, it was mixed and mastered by Marta Salogni, and structured into five movements.

Mute’s press release gives all the required detail. “The release utilises the Strega instrument that Cortini co-designed with Make Noise, capturing the ambience of the original piece – commissioned by Sónar Lisboa 2022 – where each of the four floors of the cavernous mill evoked a different state through Cortini’s sound design. Constantly unfolding as the listener travelled through the building, it harnesses the movement of the piece, highlighting the interconnectedness of all things.”

What’s the music like?

Cortini writes with a broad brush, the five tracks stretching over 40 minutes with slow, incremental changes in each.

At least, that’s how it appears on first listen – but further listening reveals more going on just beneath the surface.

The five scenes / movements are brooding, with II especially moody as the musical drones make an approach, gathering white noise, then retreating a little before returning. Here Cortini’s use of quarter tones gives the music a threatening edge, while on III there is a generation of more kinetic energy as the treble pitch wavers while progressing. IV takes on the spirit of an organ, as does V with its really sonorous bass notes – with close listening revealing all sorts of subtle crossrhythms at play as the wave forms bounce off each other.

Does it all work?

It does – and is most effective if all five movements are experienced without a break, in one sitting.

Is it recommended?

Yes. This is a very immersive piece of music, often calming but never retreating to the background, as Cortini gives his voice real stature and presence.

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Published post no.2,340 – Wednesday 23 October 2024

On Record: Vince Clarke – Songs Of Silence (Mute)

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by Ben Hogwood

What’s the story?

After such a long and prestigious career in music, it feels odd to be talking about Vince Clarke’s first solo album. And yet here it is, the first time he has stepped out in a lone capacity. Having been a key founder member of Yazoo, Depeche Mode and Erasure, where he still resides, you might think this music had been in the offing for a long time – but in truth it was lockdown that inspired Songs Of Silence.

Alone with his cat and the modular synthesizer format Eurorack, Clarke set to work, enjoying the instrumental restrictions and also thriving on a technique which sees him base each of the ten tracks on a drone.

What’s the music like?

Vince Clarke’s music is of very strong presence and character. It is also deeply serious, but with a great deal of light and shade that gives these silent songs a great deal of expression.

Clarke uses drones as his musical currency, rather than intricate synth lines. Catchy chorus hooks are less forthcoming, but that is not a problem. While each of the ten tracks is based on a single note, they provide a strong base over which the treble melodies and textures can freely operate. There is some very descriptive music here too, typified by Cathedral and Red Planet.

At times the music is minimal, stark even – and when this happens emotions run high, the music baring its soul. Reed Hays’ cello cuts to the quick on Lamentations Of Jeremiah, a musical ritual with an intensely emotional melodic line, speaking of trial and hardship. Caroline Joy brings her vocals to the vocalise Passage, releasing energy generated by the preceding White Rabbit.

Textures are often stark, rising ahead like hills in the road or the outline of craggy mountains. And yet there is solace too, the drones offering comfort from the intensity above.

The parallels with the Covid outbreak are notable, Clarke exploring music of resentment and anger, but ultimately the music finds a troubled peace. His electronic pop prowess is temporarily set aside, but he is equally at home in slower music.

Does it all work?

It does. Clarke achieves a sense of timelessness, not just through the drones but also the melodic material that unfolds with grace and stature.

Is it recommended?

Yes, enthusiastically. It is typical of Vince Clarke that he should deliver an album of such quality, but also that it should be consistently rewarding.

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Published post no.2,020 – Saturday 25 November 2023

New music – Vince Clarke: The Lamentations of Jeremiah

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Yesterday Vince Clarke, founding member of Depeche Mode, Erasure and Yazoo, and all-round electronic maestro, announced a new album.

Due on 17 November on Mute, Songs of Silence is described as an ‘ambient instrumental album’. Its first single, The Lamentations of Jeremiah, represents a striking musical structure. A haunting solo cello line takes the lead, a true lament set against a drone accompaniment. It is certainly dark, but has at its heart an outpouring of emotion that is ultimately positive. Listen below:

On Record – Daughter: Stereo Mind Game (4AD)

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by Ben Hogwood

What’s the story?

Daughter have something of a cult following, and it’s easy to see why. They have the ability to build strong connections with their listeners, through subtle music that can often be interpreted as downward looking but actually turns out to have a positive undercurrent beneath.

Their last album, Not To Disappear, was perhaps too dark especially given its January release in 2016, but seven years on from that the group have released a couple of strong singles with their collective eye firmly on the long playing game.

What’s the music like?

Both elegant and profound. Where Not To Disappear carried a weathered expression, Stereo Mind Games looks upward with more kinetic energy, alternating between urgent thoughts and slow tracks acting as a musical comfort blanket. There is a really pleasing contrast of light and shade, and their songs have an attractive poise this time around.

Be On Your Way is a standout song that hits home a few listens in, flickering with promise for the future while telling the first part of a story to be continued. Dandelion has a crisp urgency that is the ideal foil for the vocal, while Neptune gives the voice free reign, climbing up to emotional heights thanks to Elena Tonra‘s input as a breathy but meaningful vocalist. Swim Back makes a lasting impression, its driving bassline and swirling production complemented by strong vocals and enigmatic lyrics.

Tonra’s voice dominates proceedings, but in the intervening years it has become a more versatile instrument, operating in slightly glacial tones but also capable a more direct approach.

Does it all work?

Yes, it does – because Daughter reach their listeners with subtle, elegant songs and few frills.

Is it recommended?

It is. Give it a few listens and Stereo Mind Game will set up its own corner in your head.

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On Record – A Certain Ratio: 1982 (Mute)

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by Ben Hogwood

What’s the story?

At first glance, an album with the title 1982 might be seen to be wearing rose-tinted spectacles. In the case of A Certain Ratio, however, it is nothing more than a mischievous curveball, for they renounce any links with nostalgia on the surface at least – apart from in the song of the same name.

Instead they go about their business with a continually refreshing disregard for genre boundaries, creating where the music takes them in the course of ten songs.

The line-up remains constant, with Jez Kerr, Martin Moscrop and Donald Johnson working alongside Tony Quigley, Matthew Steele and Ellen Beth Abdi, with a guest slot for Chunky the rapper.

What’s the music like?

Varied and vibrant! This is an album that pulses with activity and good vibes, right from the off.

When the easy beat and upward looking chorus of Samo sets out the band’s stall, the signs are good – and as 1982 progresses they only build on that good feeling. The title track is a blend of German pop music homage and loping Manchester groove, while Constant Curve features exalted levels of funk thanks to a guest turn from Emperor Machine.

Waiting On A Train mines a sweet melancholy thanks to a slower groove and Ellen Beth Abdi’s wonderful voice, complemented by the more nasal tones of Chunky and a dreamy piano prologue. Abdi takes over on Afro Dizzy, too, a dreamy mix of Afrobeat and sultry vocals.

Meanwhile Tombo in M3 is an ultra-cool instrumental, powered by liquid keyboard lines and a springy rhythm, while Holy Smoke bubbles up when Tony Quigley’s saxophone gets involved. Tier 3 finds Abdi on flute duties, behind the album’s catchiest riff.

Finally Ballad of ACR is an experimental sign-off, part song and part modern jazz workout, closing the album in a haze.

Does it all work?

It does. An open musical book is the best way for A Certain Ratio to work, and yields thoroughly invigorating results here.

Is it recommended?

Enthusiastically. If you’re a fan, you know exactly what to do – but if you’re new to ACR, this is a great place to start too.

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