electronica
Thomas H. Green
VINYL OF THE MONTHMike Lindsay Supershapes: Volume 1 (Moshi Moshi)Solo debut from Mike Lindsay, a founder member of tunng and also half of psychedelic duo LUMP. It’s a good thing when music is hard to describe. Opener “Lie Down” sets up the stall, a catchy but weird slice of poet-pop, wherein wonky dance rhythms, abstract jazz, lyrics about mundanity and shouts of the title phrase, including contributions from singer-songwriter Anna B Savage, add up to a wild frolic. With plenty of woodwind, lyrics about toast and Sunday roast, an inability to musically settle down anywhere “normal”, the Read more ...
Kieron Tyler
The conundrum central to library music is that it was not meant to be listened to in any normal way. Yet, in time, this is what happened. What ended up on the albums pressed by companies like Bruton, Chappell, De Wolfe and others was heard by subscribers – the records did not end up for sale in shops or on the record players sitting in the nation’s homes.Those receiving this music were from the advertising, film and television industries. They were looking for material which could feature in their productions without the need to book a recording studio and employ an arranger, composer, Read more ...
Thomas H. Green
Dave Clarke (b. 1968) is, arguably, Britain’s greatest techno DJ. Although, in fact, he has lived in Amsterdam since 2009. He is also a producer of repute. His Red singles of the mid-Nineties are regarded as groundbreaking productions.He followed these with the albums Archive One in 1996, Devil’s Advocate in 2003, and The Desecration of Desire in 2017. The Red Series and Archive One have recently been reissued.Clarke was born and raised in Brighton, the offspring of a technology-loving father and a disco-loving mother. He would not characterise his childhood as especially happy. He ran away Read more ...
Kieron Tyler
As Dust we Rise ends with “Quilt,” a percussion-driven lamentation bringing to mind the New Orleans stylings of Dr. John. The album begins with “Hem,” where stabbing piano and strings interweave with a pulsing, wordless chorale. After a while, a muted trumpet and pattering wood blocks fill it out.In between, odd suggestions of The Rolling Stones’ “Sympathy For the Devil" (“Here Comes the Flood”), a spectral, twinkling ballad (“The Sea”), a sharp, skip-along, clockwork-toy of a track (“Ammonite,” one of the album's most electronica-inclined cuts) which could fit snugly into the soundtrack of Read more ...
Tom Carr
For a band as creative as St Albans’ own electronic-hardcore-rock fusion pioneers, Enter Shikari, the last thing you would expect them to do is sit on their hands.And that’s exactly what’s come to pass, as only a year after achieving their first UK number one with A Kiss For The Whole World, they follow up with companion album Dancing On The Frontline.There is always a risk with remix albums that they either end up feeling superfluous. Or, they go too far down the rabbit hole away from the original. Here, Enter Shikari thread the needle somewhat and limit the remixes, and include live Read more ...
Kieron Tyler
In 1974, two albums by German kosmiche musicians working with electronics became the first from the seedbed of what’d been dubbed Krautrock to explicitly embrace – and merge – melody and rhythmic structure. One was Kraftwerk’s Autobahn. The other was Cluster’s Zuckerzeit. Once on the record player, each LP instantly made its presence felt more directly than anything either had released previously.For Kraftwerk, this resulted in an unlikely international hit with a single edit of Autobahn’s title track. For Cluster, there were no singles and, consequently, no chance to fluke any chart action. Read more ...
Thomas H. Green
US electronic perennial Moby has had a good run. He was a rave culture phenomenon from 1991 onwards. He blew that with a vegan punk album. He released Play at the decade’s end and sold millions. He then had decadent superstar years, a run of huge, often juicy albums. He quit booze’n’drugs in 2008. His music blossomed again, culminating in a trio of albums raging at the state of his nation. Following the last of these in 2018, not much has held the attention. Always Centered at Night has moments that do.Those wanting energy and urgency should look elsewhere. This is mostly a downtempo Read more ...
Thomas H. Green
Charli XCX has been making scrambled eggs of pop for a decade. She’s written songs for/with artists including, but far from limited to, Lady Gaga, Iggy Azalea, Giorgio Moroder, Selina Gomez, BTS, David Guetta, Ty Dolla $ign, Blondie, Gwen Stefani, Raye, BTS, Camila Cabello, Benga, Caroline Polachek, Haim, and James Blunt. And then there’s her own albums. Six of them, including this one. But she’s not yet a full star. At least that’s what she reckons. And that’s what her enjoyably abrasive new album is about.The aforementioned abrasiveness is sonic. XCX’s lyrics are thoughtful, a navigation of Read more ...
Thomas H. Green
Natasha Khan’s musical career has always explored the artier end of pop. Her latest album, her sixth and first in five years, is more akin to the soundtrack work she did with Swiss composer Dominik Scherrer on BBC spook-thriller Requiem in 2018 than her Bat For Lashes albums.There are not many actual songs. Instead, lots of “pieces”, most of them between two and three minutes long. Ethereal in tone, enjoyment depends on an ability to roll with gossamer fairy waftings. Instead, this writer grew bored.The album is titled in honour of Khan’s daughter and she terms these sonic snapshots “song Read more ...
Thomas H. Green
Skirting along the peripheries of doom metal, unbeknownst to almost everyone, there existed a band called Mammoth Weed Wizard Bastard. Hailing from Wrexham, Wales, they created four albums that stand alone in their originality, combining massively bonged-out sludge-riffing with Cocteau-Twins-ish vocalising and Seventies space rock vibes.They sounded magnificently like no-one else. Now their lead singer, Jessica Ball, reappears with her new band, EYE. The good news is that they righteously match and expand on what came before. MWWB, as their name was eventually abbreviated to, are now on Read more ...
Thomas H. Green
Justice are a couple of super-suave rock star analogues. Leathers and aviators, yes, but with a very Parisian insouciance. Their music is the same. It has a rocker-friendly je-ne-sais-quoi, but air-brushed with the glitzy sci-fi futurism one might expect from a couple of guys whose origins lie in design. Their new album, their fourth and first in a leisurely eight years, retains their usual slightly-gnarly-but-smartly-turned-out vibe, but reaches towards new and entertaining musical directions.Justice blew up with Noughties monster remix “We Are Your Friends”, then rode the proto-EDM wave, Read more ...
Thomas H. Green
VINYL OF THE MONTHLondon Afrobeat Collective Esengo (Canopy)The weather has not been kind to the UK lately, pelting it daily with endless drizzle and gloom. So wrap your ears around this, a mini-album that will infuse any room with blazing sunshine as soon as the needle hits the plastic. Esengo was supposed to be reviewed last month but one listen and, instead of being held back for review, as it should have been, it bullet-shot straight into the record box for DJing (where it more than proved its worth). The band are a loose-limbed outfit, nine-strong and consisting of members from England, Read more ...