Category: Rock Music
‘A Man Alive’ is the fourth album from Thao Nguyen with her project The Get Down Stay Down (she also records as half of Thao & Mirah) and is one of the most personal to date. A large amount the lyrics deal with absence specifcally her father’s absence. These lyrics are a stark contrast to the albums thrashy party music. There is a bittersweet sense throughout the album that binds it together and rewards the listener with repeated listens as their understanding deepens and the layers are peeled away.
Merrill Garbus (aka Tune-yards) is on board as producer and contributes a lot instrumentally and back with backing vocals throughout the album. There is a lot of similarities between Thao’s vocal delivery and sonic and stylistic choices when compared to Tune-yards back catalogue. The use of lo-fi and distorted fuzzy production and funky, tribal rhythms that have a hint of Afro be about them I just two similarities. However, these similarities don’t spoil a brilliant album and is like a more direct version of Tune-yards “Nikki Nack” that sometimes suffered from overstuffing every song with elements and thus could be a very overwhelming experience. Another useful reference point is that of Deerhoof who combine serrated indie/post-punk guitars with Afro beat rhythms and poppy vocal melodies and have a similarly lo-fi aesthetic.
The album opens with ‘Astonished Man’ with a down tempo beat and vocals opening the track, then heavy buzzing synth bass joins in and push the track forward. In the chorus there’s a cool hook played by what sounds like a badly tuned guitar. Everything is very raw and lo-fi in a good way and reminds me of Deerhoof. Though Thao can create a more complex melody. Continuing in a similar vein is ‘Departure’ with its opening minimal sound set just a drum machine some percussion and vocals but then we get stabs of guitar and a deep thick synth bass joining in. At points in the chorus vocals to become a little grating and recall that of Garbus’ wI personally I don’t have a problem with Garbus’ vocals but I understand how they can annoy some people. ‘Departure’ is also the track where the lyrical theme begins With the shouted line “Half of all my blood in vain,” standing out. ‘Guts’ with its down tempo sparse beats and organ the only things accompanying the vocals, continues the lyrical theme with Thao stridently declaring “I’ve got the guts/ I don’t need my blood.”.
Next up is ‘Fool forever’ which opens with a tightly wound guitar playing across fast skittering drums while the vocal moves steadily over the top. This then breaks down temporarily before the riff returns to be joined by another riff played on very distorted organ, the jittery feel of the track is amplified by these elements combining. The Ballard-like ‘Millionaire’ Recalls ‘Maps’ by the Yeah Yeah Yeahs with Thao playing the part of Karen O. That this time the word is not directed at a lover but her father, “Oh daddy, I broke in a million pieces/ That makes you a millionaire.” The song opens with a sparse guitar melody and held organ delayed chords backing an almost bare Thao. A bass drum keeps time far in the background. Around 20 seconds in with the guitar and organ making a musical change to play soaraway chords for Thao to sing a long reverberant melody over. This structure is repeated throughout.
‘Meticulous bird’ puts us back on the upbeat tip with driving drums kick in the track off. Screeching synths play, counter point to the vocals weaving in in and out of the verse and chorus. The track is little difficult to listen to at first but once you get used to it actually works very well. It also another example of contrasts of sweet and serrated views on this album.The album closes as it began with a down tempo track and also brings back the main lyrical theme on The album closes as it began with a down tempo track and also brings back the main lyrical theme on ‘Endless Love’ where Thao sings a simple melody (sample lyrics include “I’ve got an endless love/ no one can starve,” and the chorus'”I don’t want it/ I don’t want it/ Carve it on out of me.”) over a sparse bass line and beat its Garbus on backing vocals again. The track provides very mellow end to the album though this is offset by nasty fuzzy guitar solo wind its wonky way through the middle of the track.
Let me know what you think of ‘A Man Alive’ in the comments or via Twitter.
Nevermen are a trio consisting of Doseone (Subtle, 13&God, cLOUDDEAD), Faith No More’s Mike Patton, and TV on the Radio’s Tunde Adebimpe. The project initiated around 2008, after Doseone had appeared on the 2006 album by Patton’s Peeping Tom project, and Adebimpe guested on ‘Yell&Ice’ (2007) an album by Subtle. The trio announced that they were working on music together in 2008, and in 2009 Doseone announced that they had named themselves the Nevermen and had signed to Lex Records, also home to Subtle. All three members kept busy with their other commitments, most notably Faith No More’s reunion, so fans had to wait until 2015 before hearing the first taste of the group’s music. Singles “Tough Towns” and “Mr. Mistake” finally appeared in 2015, with the latter sporting a remix by Boards of Canada. The self-titled album by Nevermen (who had removed “the” from their name) finally appeared on Lex (in the U.K.) and Patton’s Ipecac label (in the U.S.) in February 2016. It was hard to know what to expect coming into this album between three unique collaborators though an interview with The Quietus had revealed that the group openly rejects the idea of having a frontman, and all three members contribute equally.
The consistent things throughout the album are the tag team effect used by the vocalists, the atmosphere of the tracks which are either icy intense or angry punky adrenaline rushes. It is easy to discern who created which part of the music and what role each vocalist is playing and the roles are always suited that vocalist. However, this never feels like a bunch of elements that are disperate but a whole as if this had been a band that around the years. There is quite an industrial feel to the album, not in terms of the genre Industrial music but the sound palette is quite metallic and there’s a lot of serrated then cutting guitar and synth sounds. The trio skilfully combine hip-hop, metal/rock and punk trash throughout the album.
The album opens with a cold metallic drone, then drums and vocals kick in with Tunde and Doseone the most prominent voices. For the verse Mike Patton take over for a few lines, then Doesone chips before Tunde finishes the verse., this an approach used throughout most of the album. The verse gives way to tribal drums and thin synth melodies of the chorus. Heavy guitars kick back in the second verse ramping up the tension before the drop to a bare guitar melody and bassline rumbling in the background. The sonic assault of the music and trio of tag teaming vocalists could be overwhelming in the hands they said this comes across as a strong album opener.
Up next is the Heavily treated drums and rushing synths of ‘Treat ’em Right’ these underpins trio of vocalists throughout the song’s introduction. Everything drops out to give way for a new more complex and percussive hip-hop rhythm before shifting into a rock style section with trebly guitar melodies. There is barely time to get to grips with one section the track before the next is upon you but is exciting instead of irritating. ‘Wrong Animal Right Trap’ combines thunderous drums and super distorted vocals that give way to heavy punky guitars and bass with the three vocalists harmonising before tag teamming through the rest of the song.
‘Tough Towns’ begins with a shifting synth atmosphere that fades in, eventually joined by glacial hip-hop beat and Tunde and Doseone harmonising. The track is very cinematic and atmospheric with a creepy vibe. It utilises a whole different tempo and tone to the other material so far, showing that the group is far from a one trick pony. The shift in tone and tempo continues on album centrepiece ‘Hate On’ with its spooky opening harmonies from Tunde which then break down to bells playing a sparse melody and icy atmosphere. A slow and loping beat and more vocal harmonies takeover before speeding up given way to a deep bass and slowly evolving vocal melody. A bit see processed percussion pushes the section forward as more synths join in underneath the vocals. The album the shifts between the more up tempo distorted and tense material and atmospheric slower tracks.
This is definitely album that can only really be made in the last decade, a modern melding of multiple genres and production techniques that pulls no punches. Compare to Young Fathers & Saul William’s “Martyr Loser King”. Along with Adrian Younge’s “Something about April II” this is an essential release in 2016. Go get it!
Let me know what you think of “Nevermen” in the comments or via Twitter.
This post is the first of two that mark the end of Sonic Fiction for the foreseeable future and probably forever. It wasn’t an easy decision to make but I feel that as much as I’m still as passionate about all the music reviewed on the site I have to now focus purely on my own music career and improving those skills.
Last year this post was called “Top Ten Alternative Release of Year” but this year I decided to drop the word Alternative as I felt it was misleading, I haven’t come up with a decent replacement word so just left a genre name out. This last covers everything from funk to ambient via desert blues and there will be another list tomorrow for the Top Ten Hip-Hop Releases of the Year.
Thank to everyone whose read, commented on and retweeted/favourited/followed Sonic Fiction in its three years in existence. I will still keep the Sonic Fiction Twitter account alive as my own personal account so you can still find out about new music via that account.
1. Jamie Lidell – “Jamie Lidell” (Warp)
2. Boards of Canada – “Tomorrow’s Harvest” (Warp)
3. Janelle Monae – “The Electric Lady” (Wondaland)
4. Julia Holter – “Loud City” (Domino)
5. Factory Floor – “Factory Floor” (DFA)
6. Colleen – “The Weighing of the Heart” (Second Language)
7. Tamikrest – “Chatma” (Glitterbeat)
8. Mulatu Astatke – “Sketches of Ethiopia” (Harmonia Mundi/Jazz Village)
9. Moderat – “II” (Monkeytown)
10. Fuck Buttons – “Slow Focus” (ATP Recordings)
Jamie Lidell – “Jamie Lidell” (Warp)
Jamie Lidell’s new self titled album may just be his best yet. It’s packed from start to finish with tracks that are suffered to gills with funk. This is however no ordinary funk, Lidell has never been one to do things the usual way, the high point of his career prior to this album was “Multiply” (2005) a collection that combined classic soul and funk chops with the forward thinking electronic glitches and edits of his label Warp. The first single from this album ‘What a Shame’ certainly promised a repeat of this direction, with its stretched grainy vocals and chopped up drums and though these and other similar sounds crop up throughout the album it’s definitely a funk album, just a freaky funk album! The album opens with the Gliding pitching synths and hard hitting drums and probing funk synth bass of ‘I’m Selfish’. It’s followed by the huge pop of ‘Big Love’ its comes on like 80’s Prince with neon synths. ‘Do Yourself A Faver’ starts off with Thick synth bass and ghost delayed synth melody before evolving into a slice of classic George Clinton electro-funk! ‘why_ya_why’ updates New Orleans funk for the 21st century with stride piano is combined with crunching, head nodding beat and squelchy synths and some excellent horn blasts, the lines between organic and electronic are blurred. ‘So Cold’ and ‘Don’t You Love Me’ stand out from the rest of album with the former offering up Icy lead synth and pad open but contrast it with the huge rush of the chorus, the later is slower number with 80’s ballad stylings which picks up the pace and reintroduces the funk elements around halfway through. Its genuinely hard to fault Lidell on an album that superb from start to finish, a true funk masterclass.
Boards of Canada – “Tomorrow’s Harvest” (Warp)
After all the mysterious codes, album playback’s in a desert and media hype we finally have the new album from Boards of Canada. “Tomorrow’s Harvest” doesn’t disappoint and stands up alongside the rest of Boards of Canada’s stellar back catalogue. There are two things that you notice after you first listen to the album 1) this isn’t a playful album filled with childlike nostalgia like “Music Has The Right To Children” (1998) 2) this is the most rhythmic Boards of Canada album to date from the drum beats the verge on hip-hop at times to the Vangelis style arpeggios and shifting synth textures.
The album opens with synthetic horn fanfare that purposefully recalls the introduction to an 80’s T.V. show, however this is a misleading and by second track and single ‘Reach for the Dead’ a few minutes later its clear this is going to a much darker proposition. The next track ‘White Cyclosa’ plunges us further into the darkness with its dread inducing synth drone, minimal echoing synth melody and unsettling shifting synth tones that rear their ugly head two minutes in. On ‘Jacquard Causeway’ a semi industrial beat competes with a curving synth melody and its counterpoint. As the song progresses more echoing synth melodies are added and the beat has acoustic layers added and feels looser as time goes on.
With its thin lightly modulated synth line and ethereal sounding vocal textures ‘Cold Earth’ is one of only tracks on the album that recalls earlier Boards of Canada releases albeit with a skittering beat and melody that jumps erratically around the beat and stereo field. ‘Sick Times’ also recalls earlier releases but with a darker, tenser atmosphere and thick, serrated electronic drums competing for the listener’s attention. ‘Collapse’ acts as the centrepiece to the albums palindrome structure it’s groaning reversed vocal effects set the disturbing tone and the Vangelis style arpeggio is another one of the albums key tropes. Next up is the album most playful track ‘Palace Posy’ with its bouncing synth bass and melody play off an almost head nodding hip-hop beat later a delayed synth stab and rhythmic synth melody kick and give the track yet more rhythmic variation, the closest thing to pop song that Boards of Canada have produced to date. ‘Split Your Infinities’ is another album highlight that opens with huge swath of synth drone and twinkling distant synth arpeggio, all this is underpinned by a crunchy beat and lo-fi vocal sample that come in, in the tracks second half. After the intensity of ‘Split Your Infinities’ and ‘Uritual’ the lighter and more pleasant ‘Nothing Is Real’ gives the listener a chance to relax, a pattern it repeated across the album’s structure.
The closer trio of tracks is one of the finest I’ve heard this year, starting with the digital degraded rhythmic synth riff and deep twanging bass guitar of ‘New Seeds’ which recalls Ennio Morricone’s finest soundtrack work but with a modern electronic twist. The track also has some great vocal textures and treated acoustic drums. ‘Come to Dust’ perfectly balances the darker and lighter elements of the album sound combining a deep synth drone and distant vocal texture with a spacious beat and synth melody and topping it all off with a fast moving arpeggio. The album finishes with ‘Semena Mertvykh’ and the album deepest and darkest synth drone which is twinned with a synth melody so distant it sounds like its coming from down a deep pit, static and tape hiss add to the track’s creepy, dark atmosphere.
There was a eight year wait between Boards of Canada’s last album “The Campfire Headphase” and “Tomorrow’s Harvest” but the wait was worth it with Boards of Canada producing another exceptional album.
Janelle Monae – “The Electric Lady” (Bad Boy/Wondaland)
“The Electric Lady” is Janelle Monae’s much anticipated follow-up to her delightfully insane and eclectic debut album “The Archandroid” (2010), which featured in my Top 20 Albums of the Year 2010 on this blog. The new doesn’t disappoint mixing up a whole range of musical genres across its nineteen tracks and continuing to explore Monae’s dystopian future where she plays the character of cyborg Cindi Merryweather. The main differences between the two albums is that on “The Electric Lady” there’s a romantic subplot and Monae has a few attempts at her own take on modern R&B a genre she’s expressed much frustration with in the past.
The album opens as “The Archandroid” did with a classical suite called ‘Suite IV Electric Overture’ which features twanging tremolo guitar, slow yet purposeful strings and a low slung head nodding, thin fuzz guitar and a heavenly choir. Around 1 minute 30 seconds in there a flourish of strings that leads into… ‘Give ‘Em What They Love’ featuring Prince. In fact, Prince is the most appropriate musical reference for this track with its slick funk rock guitar and thumping minimal beat. In the chorus a shuffling acoustic guitar enters adding to the slinky groove. In verse two Prince sing falsetto over his own perfectly poised guitar melody. There’s also a great guitar solo by Prince halfway through the song but Monae is the Purple One’s equal and is never in his shadow. Next up is the album’s first single ‘Q.U.E.E.N.’ featuring Erykah Badu, the track kicks off with a funky guitar riff and subby bass drum and subtle tambourine groove. Then some P-Funk synth swiggles drop in before everything gets extra funky in the chorus. The track reminds of Thee Satisfaction albeit with major label production. Monae’s first attempt at a straight R&B is ‘Electric Lady’ featuring Solange. It opens with staccato vocals and fuzz guitar solo before the main head nodding funky beat and bass line drop and Monae and Solange’s vocals interweave creating harmonic heaven, later they create some fantastic melodies together too. The beat and bass line reminds me a lot of Solange’s tracks on her own ‘True’ EP and Monae has praised her as one of only artists pushing R&B forward. ‘Primetime’ featuring Miguel is another attempt at R&B this time Monae trys her hand at a ballad. In the intro Miguel adlibs over his own vocal distant vocal harmonies and a beat thumps and echoes out. Monae pushes the boat out vocally for the chorus before a cool fuzz guitar solo kicks. Things drop down again for Miguel’s first verse proper. Despite the cheesy lyrics, sounds and guitar solos, I really like this R&B and I don’t like R&B ballads.
‘Dance Apocalyptic’ is a fantastic pop song that combines acoustic rhythm guitar, upbeat drums and great claps. It strongly recalls ‘Hey Ya’ by Outkast, which is no bad thing. ‘Look Into My Eyes’, ‘Victory’ and ‘Can’t Live Without Your Love’ show that Monae can deliver emotive vocals, something that she’s been accused of lacking in the past. Meanwhile, ‘It’s Code’ and ‘Ghetto Woman’ add to the album funk quota the former combing flanged wah-wah guitars and thick bass with subtle yet bouncy drums and some nice twinkling vibraphone melody. I love the synth swiggles in the chorus. The later continues with the synth swiggles and pumping synth bass, recalls Stevie Wonder in his 70s prime.
The only real misstep on the album (apart the interludes which add nothing to the album musically or thematically) is the closing track ‘What An Experience’ with its 80’s style synth stabs and hip-hop drums come across as cheesy where the aim was for something emotive. However, this a minor complaint on an exceptional album that equals Monae’s debut in terms of both ambition and great tunes. You need “The Electric Lady” in your life.
Julia Holter – “Loud City Song” (Domino)
Julia Holter returns with “Loud City Song” her third album in three years and the first to record in a studio instead of her bedroom studio. It is immediately evident that this album is both similar and different to those that preceded it. The album is again themed but this time instead of an Ancient Greek theme were transported to 1940’s Paris and the film/novel ‘Gigi’ and Holter’s home of Los Angeles the inspiration for the album. Holter also continues to play with both avant garde and pop music though whereas her previous albums felt grounded and homemade “Loud City Song” brings in elements of jazz and soundtrack music that make for more upbeat and sweeping arrangements.
‘Maxim’s I’ is a great example of the leap that Holter’s made on this superb album. It begins with quiet hi-hats & cymbals play in the distance overlapping each other. The tension rises with strings and heavy piano and a synth pad enter for the beginning of the song proper. A full drum kit plays beneath all of this and Holter’s sparse lead vocal. Then there’s a breakdown to piano and violin around 2 minutes 30 seconds in before a new drum beat and Holter enter creating something that sounds like a more muted version of Serge Gainsbourg’s “Histoire De Melody Nelson”. The first section and beat returns around 4 minutes in and is later joined by what sounds like a new thicker pad sound. Next up is ‘Horns Surrounding Me’ the most effective use of field recordings in one of her songs to date. The field recording of “the brisk footfall of her fellow passersby evokes claustrophobia, danger and paranoia (is she being chased? Or is it all in her head?)”, it sets the tone for the nervous and menacing song that follows perfectly.
‘Maxim’s II’ opens sharply with Holter’s lone vocal and surges of strings. Horns join in honking before a vibraphone enters followed by pounding drums and bass guitar. Everything breaks down around two minutes in with Holter sing over just a field recording. Then huge honking horns and orchestral percussion crash in and push the joyous track along. Around 4 minutes and 30 seconds in the beat breaks down into something more strict and industrial, globs of metallic guitar, thick synth drone and squawking sax make the tracks chaotic climax. Album closer ‘City Appearing’ is an example of something else Holter manages to deliver across the whole of the album which is expert use of dynamics and texture. It begins with just Holter’s naked voice and stark piano chords. Around 1 minute 30 seconds in a wet, subtle synth pad enters glistening and slow moving. A drum beat coated in reverb enters around 2 minutes 40 seconds in. Then 3 minutes 24 seconds in a double bass line enters giving the track new purpose. Around 5 minutes in the synth pad rises to a level that causes the track to feel both tense and swirly which is emphasised by the acoustic drums that shift about below the surface.
With “Loud City Song” Holter may have delivered her best and most fascinating album to, she has managed to make a record that is hugely ambitious and hugely satisfying for the listener. Holter has truly mastered using space, dynamics, texture and improvisation alongside melody, harmony and composing. She is able to paint pictures and evoke emotion with both field recordings and musical elements and effortless blend or move between the two. It is difficult to define, is she an experimental artist or a pop artist or both? Whatever she is it’s a joy to listen to and experience.
Factory Floor – “Factory Floor” (DFA)
I’ve been a fan of Factory Floor since discovering them back in 2009 when The Quietus began championing their cause. Since then the trio have collaborated with the likes of Simon Fisher Turner, Chris Carter and Cosey Fanni Tutti, released a series of astonishing 12” singles and remixes and stunned many a gig and festival audience. All this has lead to one of most highly anticipated albums of the year and it doesn’t disappoint.
The album opens with ‘Turn It Up’ which sets the scene for the rest of the album perfectly. It opens with electronic percussion that’s swiftly followed by a bass drum, processed male vocals and intense electronic cowbell. Nik Colk’s vocals join the male vocals and the track starts to feel like a minimal Arthur Russell production but more industrial in feel. Chattering techno hi-hats cut in upping the tension. The vocals get increasingly more processed and alien as the track progresses recalling those of Laurel Halo circa ‘Logic Hour’. Next up is ‘Here Again’ which begins with a synth arpeggio that fades in and out of view. Live drums kick playing in a breakbeat style and female vocals echo out. The track reminds me of Chris & Cosey who Factory Floor have collaborated with. There a great clap that comes in around two minutess in. Another arpeggio comes in to play counterpoint to the original in the third minute. the second half of the track is dominated by lots of descending delay effects, rolling toms and chattering hi-hats Colk’s vocals hovering just above.
The single ‘Fall Back’ combines a thumping acoustic bass drum, throbbing synth arpeggio and slap in the face electronic snare and toms during its intro. Colk’s vocals cut in coated in thick effects (pitched shifted, with maybe some reverb). The chattering hi-hats kick in around 2 minutes in and give the track extra forward momentum and a faster feel. I love the way the intensity builds and when the acid bass that kicks in part through with its great spluttering, squelchy sound. ‘Two Different Ways’ is an great track that shows off the band ability to make you dance as it does their industrial intensity. It starts off with electronic bass drum and snare, backing huge synth arpeggio, toms roll in and out and hi-hats tease, the female vocal drops in coated in reverb. Wood blocks kick in with a funky rhythm around three minutes in. Wet, gloopy delay effects drip over the mix around the four minute mark, then the track finds yet more momentum with the synth bass arpeggio growing stronger and stronger as the track progresses.
The album finishes with the one-two punch of ‘Work Out’ and ‘Breathe In’. The former picks up where ‘Two Different Ways’ left off as electronic drums and percussion thump and patter while a stabby bass synth plays over the top. Tom-toms fall all over the place. Colk’s vocal echoes out creating a harmony. In second half there are more delay effects and an arpeggio that add variety and intensity, as does noise mixed in with the hi-hats and synths. A funky more resonate synth enters around 5 minutes adding extra movement and impetus to the track. The latter is the perfect end to the album and strongly recalls Cabaret Voltaire in their mid 80’s electro prime. A thick bass synths starts things off before being swiftly joined by a tough acoustic four to the floor beat and intermit processed vocals. The vocals are used as samples rather than typical use of lead vocals.
All-in-all Factory Floor have created a great debut album that both lives up to the four years of hype that preceded it and is also surprisingly accessible compared to what I (and most critics) had expected. Go out and get yourself a copy of “Factory Floor” you won’t regret it.
Colleen – “The Weighing of the Heart” (Second Language)
‘The Weighing of the Heart’ is Colleen’s first album since 2008, it’s also the first her first album to feature her own singing and extensive use of percussion instruments. In interviews Colleen has explained the album took so long to make as she’d fallen out of with music and took a break from both creating and listening to music.
After her enforced hiatus she has returned with an album full of beautiful music yet unorthodox music that is uniquely her own straddling the genre’s of folk, chamber pop and world music and never losing it natural feel. Opener ‘Push the Boat onto the Sand’ is a fine example of mixing of genres of unorthodox use of both her viola (its tuned like a guitar and plucked not bowed) and song structure (she uses simple repeating loops, then replaces that loop with another and then another) it also evokes a sense of Spain where she lives and records. ‘Ursa Major Find’ uses the same structure but has a more intimate and angelic feel perfectly complimented by a melody played on an antiquated sounding keyboard. ‘Humming Fields’ with its offbeat bass drum pattern and music box style melody sounds like a group of musicians playing in a room, in fact this a trick that Colleen pulls off across the second half of album and you forget this is the work of a lone person. ‘Going Forth By Day’ starts with just a lone plucked viola melody before it evolves into a more rhythmic pattern and is joined by a wavering oboe melody, a lovely track.
Colleen saves the best til last through with the final three track on the album proving to be the highlights of a great album. This trio begins with ‘Moonlit Sky’ which sees the return of the oboe again complimenting the viola perfectly before the unexpected arrival of an organ that gives the track a dynamic lift and some extra warmth. It’s followed by the scrambling viola melody and gorgeous vocal harmonies and African percussion of ‘Breaking Up the Earth’ before the title track rounds everything off with echoing viola and yearning violin melodies.
All-in-all Colleen has created an album full of beautiful and orthodox music, with enough depth to keep listeners discovering some new with each new play.
Tamikrest – “Chatma” (Glitterbeat)
In 2011 “Toumastin” Tamikrest’s second album made number five in my Top Ten Albums of the Year and threw down the gauntlet to the kings of Tuarag (Sahara desert blues) kings Tinariwen. Now they return with a new album that pays title to the women, children and old people who are the victims of the war that’s been raging in their homeland. The band themselves had to escape to Algeria where they recorded “Chatma” (the title means ‘sisters’ in French). The album sees the band in fine form both solidifying what they’d achieved on the previous albums and adding to it with new elements (hand claps, synths), slower more reflective tracks (something the band hadn’t done before), the addition of former Tinariwen singer Wonou Walet Sidati and a sharper, lusher production job.
The album opens with ‘Tisnant an Chatma’ and there synths are evident from intro before the lead guitar enters and Sidati talks in her native tongue. After about 30 seconds the assured drums and bass guitar and rhythm kick leading the way and picking up where the band left off on thier last album. An early highlight is ‘Itous’ which starts with a deep sparse bass line and hand percussion, swiftly followed by rhythm and lead guitars and interchanging lead vocals. Its more contemplative in tone than any Tamikrest track before it and puts down a marker for the rest of the album. More hand claps utilised around the 1 minute 20 second mark. I reaaly like the cutting, choppy rhythm guitar in the second half of the track. ‘Achaka Achail Aynian daghchilan’ continues the comtemplative tone with its combination of picked naturally reverberate acoustic guitar and quiet almost whispered male vocals and thick but not intrusive electric guitar chords.
Next up another change for Tamikrest in the faster tempo’d ‘Djanegh etoumast’ that opens with muted rhythm guitar riff before the lead guitar comes in a big chord is stuck and a faster rhythm of drums, percussion, bass and guitar kicks in. Shortly after the hand claps and vocal chants join in. There’s some great guitar solos in the instrumental sections. A drum break, bass solo and revered drum sounds introduced briefly after the three minute mark before the guitar drive back in to take the song to its climax. ‘Assikal’ sees the band exploiting the modern production techniques of reversing (a piano in this case). The guitar melodies float in before a male vocal sings quietl over, lots of overlapping reversed piano and then the loping percussion and lead guitar proper are slowly faded in. The track has a stately assured feel. Around two minutes the reversed piano and spoken word returns, the guitar echoes out infinetly. Three minutes fifty seconds in hand percussion and a wooden flute come in swiftly followed by the lead guitar, the one thing holding this whole complex track together.
A dirty analogue synth drone rises at the start of ‘Takma’ before hard drums bang and clatter, the lead guitar darts around the mix and chunks of fast and funky rhythm guitar and bass chugs below. It takes a moment to get used to this newly more uptempo Tamikrest but once I did the track and especially the synth and drums sounded great. The album closes with the brilliant ‘Timtar’, reversed guitars open the track giving way to the lead guitar and a deep bass drum, the melody is quite sparse compared to typical Tamikrest melodies. A wonderful gentle male vocal melody moves slow across the backing track. More drums enter around 2 minutes 30 seconds but they are subtle yet add just enough forward momentum to stop the track from stalling. The rhythm comes in towards to the end of the track to provide the same forward momentum.
All-in-all “Chatma” is the crowning achievement of Tamikrest’s career, the band managing to retain what made so great in the first and combine it with new elements and techniques to that enrich their Tuarag sound. Highly recommended for fans of Tuarag artists such as Tinariwen, Group Inerane and Group Doueh and those that like of sound of the descriptions in this review but have yet to explore this genre.
Mulatu Astatke – “Sketches of Ethiopia” (Harmonia Mundi/Jazz Village)
I first came across Mulatu Astatke’s music after buying “Inspiration Information” (2009) a collborative album made with London’s funk/jazz/psychdelica band The Heliocentrics. The album hasn’t been off my mp3 player since and I’ve explored his impressive back catalogue of Ethio Jazz (the genre he pionneered in the late 60’s that combines tradtional Ethiopia modes and rhythms with those of Western jazz) albums. Four years later he returns with an album that gets closer to his aim of a perfect hybrid of Ethiopian music and jazz. The album features a number of tradtional that have been modified by Astatke so that they can play the 12 tone Western scales used in jazz.
The album opens with ‘Azmari’ the whole of Astake’s band in full swing, playing an Afro-funk/Latin jazz rhythm, brass stabs, upright bass underpins the patter of percussion and drums shift under everything. A krar (six-string lyre) flys in playing a counterpoint melody to the brass. There’s a great tense battle between the instruments around 2 minutes 40 seconds in, then the track breaksdown to upright bass twang, masinko (single-bowed lute) scraping and a vibraphone twinkling high above. The intros drums, percussion and melodies dive back in soon after. Next up is ‘Gamo’ a fast moving krar melody, upright bass line, clip-klopping percussion and African vocal chants open the track. Then the brass moves in and out with purpose. The track feels both Latin and African all at once (a trademark of Mulatu’s sound), it’s light yet not without substance. There’s a nice krar solo and low synth drones come in for the final minute or so, the interweaving male and female vocals are great too!!
‘Gambella’ starts with three sparse melodies playing out (vibes, piano & krar) over tumbling toms and waves of cymbals, this creates a forboding atmosphere but with shafts of light courtesy of the cymbals, vibes and high piano notes. The full beat, bass line and acoustic guitar melody kick in at 1 minute 30 seconds in before the horns strut in and blares out over the top. There’s great attitude in the male vocals, which are supported by the female backing vocals and they remind of how the vocals are used on Talking Heads “Remain In Light”. It’s followed by ‘Gumuz’ which begins with chanted male vocals and distant female vocal chants before phased guitar, double bass and a shuffling Latin rhythm slink in. An acoustic guitar plays a rhythm that gives the whole track forward momentum. There’s some nice electric piano chords that introduce themselves during a breakdown around 2 minutes 30 seconds and add warmth throughout the rest of the track. It’s the most modern of all the tracks I’ve hear from Astatke and he just about pulls it off, though some of the sounds are a little too smooth and polished and thus come off as a bit cheesy.
The album finishes with two great but contrasting tracks in ‘Motherland Abay’ and ‘Surma’. The former opens with sparse reverberate piano chords, swiftly followed a picked krar melody, chimes and the bowing of the masinko. Mulatu’s vibraphone twinkles in and out of the mix. This mix of instruments creates a desolate atmosphere. A washint (bamboo flute) enters and creates a haunting melody that swoops down on the listener. The masinko drives in low in the 4th minute before a light drum beat and stringed melody and trumpet take over the vibraphone playing sparsely above and around them. The latter combines a drum roll that brings in the horns, percussion and bass line. The track breaks down for the verse, that features a tightly coiled guitar riff (muted), an acoustic guitar melody, shuffling drums and the horns all backing guest Fatoumata Diawara lead vocals. The track feels a lot more like an Afrobeat or High Life track than the Ethio-Jazz of Mulatu’s usual tracks. It’s sound is sparser and more poppy than the rest of the album.
In “Sketches of Ethiopia” Astatke has created an album that comes close to matching both solo work from the late 60’s and early 70’s and the “Inspiration Information” album that are regarded as his best work. A little more time with the album will no doubt confirm if it equals these past achievements and reveal yet more detail of this meticulous yet effortless artist. Highly recommed to existing Astatke fans and fans of East African music.
Moderat – “II” (Monkeytown)
Moderat released their first album four years ago it neatly combined the aggressive, dark techno, dancehall and hip-hop influenced side of electronica duo Modeselektor and the dreamy atmospherics and emotive vocals and guitars of electronica artist Apparat. Now the experienced trio are back with a new collaborative album “II”.
The album differs from their debut in that whereas the debut featured much more dramatic peaks and troughs across its running time, there was a handful of harder and danceable tracks were the beats were more prominent. This no problem as the trio are just as adept at slow burning and emotive tracks as they are club tracks.
Another difference is that the Moderat sound has been developed more organically, as the trio admitted in a recent interview with XLR8R that the previous album was “based on old ideas from all of us. We just had a folder and we put all of the ideas in there and we kind of recycled them”. The trio ended creating new ideas from scratch for “II” and this has led to a sound in which elements from the two different parts of the group are not fighting each other but complementing and contrasting with each other instead. All-in-all its a more well rounded and sonically consistent album.
<p><a href=”http://vimeo.com/69467838″>Moderat “Bad Kingdom” | Monkeytown Rec.</a> from <a href=”http://vimeo.com/pfadfinderei”>Pfadfinderei</a> on <a href=”https://vimeo.com”>Vimeo</a>.</p>
After a brief intro track to the set the scene the album really gets going with ‘Bad Kingdom’ with its spiky synth bass, Apparat’s contrasting vocals (plain in the verse, dreamy and distant in the chorus) and brilliantly designed synth sound that bleep, squeal and honk. ‘Versions’ keeps the quality level and tempo high with airy fast moving pad and slinky percussion providing the energy behind rising and falling vocals and slow moving synth bass. ‘Milk’ provides the toughest and tensest track on the album with a slippery but hard techno synth bass and thin atmospherics setting the tone before another bass layer joins in thickening the sound and bringing with it reverse effects and the full drumbeat that features a very crisp and hard snare! An epic, emotive techno track should go down well in Berlin’s clubs. ‘Gita’ highlights Moderat’s ability to create incredibly detailed and texture tracks from seemingly just a few musical elements. It combines fuzzy digital bass synth, clicking, clacking electronic drums that back Apparat’s naked, and multi layered vocals. As the track progresses a synth pad and two melodies sneak underneath the vocals. After several listens I suddenly realised one of the melodies sounded like marbles falling from your hands and bouncing up into the air.
Overall it’s hard to find fault with “II”, my only real criticism is that I’d have liked some MC driven tracks like “BeatsWaySick” from the debut album but it’s a minor criticism. Moderat have created an album that could grow to be as great if not better than its predecessor was.
Fuck Buttons – “Slow Focus” (ATP Recordings)
It has been four years since Fuck Buttons up their game on their second album “Tarot Sport” which made Sonic Fiction’s Top Ten Albums of the Year 2009. Both members have worked on other projects the most high profile of which was Benjamin John Power’s dark ambient side project Blanck Mass. Now they return with new album “Slow Focus” and the promise of a sound underpinned by hip-hop beats.
The album opens with ‘Brainfreeze’, which opens with the duo’s previous trademark tribal drums and thick snaking synth covered in grimy distortion that slink all over the drums. As the track progress more and more layers of synth are add until a new pad sound changes the song’s feel from claustrophobic to triumphant. Next up is ‘Year of the Dog’ and begins with synths bubbling up through a soup of reverb/delay before an aggressive arpeggio fly into view. Later in the track a disturbing cacophony of violins enters before the arpeggio reasserts itself and angelic sounding pad joins the melee.
Album centrepiece ‘The Red Wing’ kicks off with a hip-hop beat and chirping synth start this track before a corroding synth bass line enters. A synth riff enters and echoes out in the distance, the riff comes front and centre as the track evolves and the synth bass and synth drones gets stronger. ‘The Red Wing’ could easily be an epic track by either Boards Of Canada or El-P and that is no bad thing! ‘Sentients’ starts with resonate electronic percussion which suggests a Congotronics influence and spluttering synth blasts before a central hip-hop influenced beat kicks in. Another synth enters whistling like R2D2. A new counter point melody enters played by a resonate 8-bit vocal synth melody and is quickly following by a wave of corroded synth. Finally another pad enters giving the track a horror film/John Carpenter vibe.
‘Prince’s Prize’ and ‘Stalker’ both feature glassy FM synth melodies with the former utilising a double time hip-hop beat and reminding me of Gang Gang Dance and Mouse on Mars. While the latter adds glistening synth later after glistening synth layer until its epic climax.
The album ends with the tumbling brittle synth melody, thumping bass drum and huge ascending synth chord progression of ‘Hidden XS’ a transcendent finale to breathtaking album.
I was excited about ‘Slow Focus’ before hearing it but never thought that Fuck Buttons would find another level to take their synth noise sound to, however they have set the bar extra high with this brilliant album.
Sonic Fiction 