Arcana’s best of 2020

written by Ben Hogwood

Before finishing for Christmas and New Year celebrations, I wanted to offer some thoughts on the musical year that has been 2020. And what a year. I doubt we will experience its like again, that’s for sure – and those of you reading this will no doubt have had some incredible challenges to overcome, or have been instrumental in helping other with their challenges. Everything is firmly in perspective, that is for sure.

In the year of a global pandemic, as in all times of strife, music has been there offering a consoling shoulder to lean on. Much of my listening this year has been of the ambient kind, a place of retreat when all has been too frenetic / inhuman / scary. Music has really shown us its true colours again this year, offering the required escape route along with some real inspiration.

Live music, of course, has suffered greatly, and my thoughts are with all those musicians and people working behind the scenes in the arts, their lives irrevocably affected by COVID. As listeners we thank them for their remarkable resilience and inventiveness, bringing live-streamed concerts of such quality they have been the best possible substitute for the real thing. Wigmore Hall set the scene in June, and many others have followed. The orchestras and choirs should be held in the highest regard for their efforts.

Needless to say I did not attend many concerts in 2020, but two of great note were from soprano Louise Alder (above) and pianist Joseph Middleton, showcasing their exceptional album Lines written during a sleepless night at Wigmore Hall in January, and the Orchestra of the Age of Enlightenment under Iván Fischer performing the last three Mozart symphonies at the Royal Festival Hall in February.

I wanted to share with you my favourite music on record this year. It was of course Beethoven 250, and my aim was to listen to the composer’s entire works. That aim continues, but the deadline has been extended massively! It is proving a thoroughly enjoyable experience but circumstances mean it has taken much longer than expected. To enjoy the listening project to its full potential, I look forward to reconvening with the first Sonatas for cello and piano in 2021, and taking it over the finishing line later in the year.

This year’s new releases have been extremely fine – and I have eight to share with you here, beginning with Steven Osborne’s remarkable disc of three Prokofiev piano sonatas on Hyperion. This appeared at the same time as the Coronavirus and felt like a direct response to it. Prokofiev was writing these works during the Second World War, in part a reaction to intense world and personal strife, and what a performance they get from the Hyperion pianist. You can read about them here

On the orchestral front, John Wilson and his Sinfonia of London came out with a simply outstanding program of French music. Escales did the wonderful job of blending seasoned favourites such as Chabrier’s España with gems that benefited from a dusting off – Duruflé’s Trois Danses and Ibert’s Escales among them. My thoughts on the disc are here

One of the most striking contemporary releases this year capped a fine showing from Kenneth Woods, both with the English Symphony Orchestra and as here with the BBC National Orchestra of Wales. Philip Sawyers’ Symphony no.4 and Hommage to Kandinsky are captured by Richard Whitehouse in this review of two exceptional pieces of new music, given great performances under conductor Kenneth Woods.

Of the electronica that I mentioned, there are some rather special examples. First among them is Kaitlyn Aurelia Smith’s The Mosaic Of Transformation, an enchanting journey of vividly coloured musical motifs. I attempted to describe them and their impact here

For something closer to home, Erland Cooper’s Hether Blether signed off his Orcadian trilogy with deeply emotive recollections and portraits of home. Complementing the previous instalments Solan Goose and Sule Skerry, it was a life affirming, communal piece of work uniting thoughts at just the right time. You can read Arcana’s interview with Erland here

Meanwhile Bruce Brubaker & Max Cooper took a minimalist composer as their inspiration for Glassforms, a set of electronic reworkings of the music of Philip Glass. Rather than simply dress up the originals, it is an imaginative and very well thought-out set of recastings, detailed here

Also taking inspiration from similarly minimal sources were New York’s Bing & Ruth, through the excellent Species long player. You can read about it here – and the background to the album in an emotive interview with leader David Moore here

On the other end of the scale sit Rick Wakeman and the English Rock Ensemble. After a series of stripped back piano albums this is Wakeman at his progressive best, in the company of some exceptional musicians, creating some dramatic and involving music. You can read Arcana’s review here – and an extensive interview with the keyboard wizard here

For music of great verve and positivity, drummer Tony Allen’s collaboration with trumpeter Hugh Masekela, posthumously published, took some beating. The recordings were made in 2010, but were unfinished at the time of Masekela’s death. The passing of Allen himself this year lent their completion extra poignancy. It was the closest I could find to pure musical joy in 2020, as documented here!

Meanwhile, returning after a long break was Charles Webster, making Decision Time – an album of very fine, futuristic soul and deep house. Much has changed since we last heard from Webster in this way, but his musical values remain the same, as reported here

It is not too much of a stylistic shift from Webster to Róisín Murphy, where we find my personal album of the year. Róisín Machine is a brilliant combination of Murphy’s effervescent, spiky personality and some really fine future disco, created with the help of Crooked Man (aka Richard Barratt). As noted here, it has the resilience and strength in the face of adversity we all needed in 2020, but crucially the sense of fun we will still need – and will surely get back – in 2021. Happy Christmas!

Let’s Dance – Róisín Murphy: Róisín Machine (Skint / BMG)

Róisín MurphyRóisín Machine (Skint / BMG)

reviewed by Ben Hogwood

What’s the story?

A new Róisín Murphy album is always a cause for celebration – whether it has been with her band Moloko or, in more recent times, a solo record in collaboration with a number of electronic music luminaries. This time around Róisín Machine, her first long player in four years, sees her working once again with Crooked Man aka Richard Barratt.

As if the new album was not enough Murphy has been busy making visual complements to the music under lockdown.

What’s the music like?

It is difficult to imagine a more stylish artist than Róisín Murphy. Even with Moloko it felt like her expressiveness matched the music in an effortless way, which made the finished result even more stylish and cool. Little has changed under her own name, though if anything the music is more dance based and the vocals even more meaningful.

Róisín Machine tells a story, threaded beautifully from start to finish, and as a result it works best when heard in a complete span. There are many telling lyrics, but the opening gambit, “I feel my story’s still untold, but I make my own happy ending”, sets the scene perfectly, after which Murphy and Barratt concoct a persuasive, loping groove.

Questions are asked as the album progresses. Kingdom Of Ends finds the singer “waking up every morning, thinking what the hell am I doing?”, while even during the cool chic of Shellfish Madamoiselle, with its bumpy beats and warm synthesizers, she feels that “I shouldn’t be dancing at a time like this”.

Difficult, though, when the music is so persuasive. The groove and vocal of Something More are a perfect match, the stylish slow disco-house brilliantly done. The same, too, goes for the effortless groove of Incapable. For the last two tracks, Narcissus and Jealousy, the tempo quickens and the pulse rate too, Róisín more obviously on the dancefloor.

The most compelling stories are told in Murphy’s Law, however, where she sings of how “I’d rather be alone than making do and mending”, but finds her instincts are pulling her in different directions.

Does it all work?

Yes – either as a single whole or as individual tracks, Róisín Machine is brilliantly worked through. The singer sounds completely at home, but at the same time there are thought provoking lyrics and feet-provoking grooves.

Is it recommended?

Wholeheartedly. This is an album that embodies the saying ‘Style never goes out of fashion’. Róisín Murphy remains one of our finest vocalists, and like a fine wine is just continuing to improve with age. Richard Barratt proves the ideal match in the production department, and together the two have made one of the best pop albums of the year.

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Playlist – Sound of Mind 4: Weekend positivity!

Today it’s all about channelling some positivity for the weekend, in the form of some brightly polished electronic music.

That means some uplifting tracks from the likes of Bibio, Four Tet and Mylo – but beyond the solo producers we have some diva-licious contributions from Robyn, Little Dragon, Santi Gold and Róisín Murphy.

I hope you enjoy it – and stay tuned for more over the weekend!

Ben Hogwood