Tag Archive: A Creature I Don’t Know


Kirsty’s Recommendations

20th May

Laurel Halo – “Behind the Green Door” EP (Hyperdub)

Laurel Halo’s first release of 2013 is the EP “Behind the Green Door”. Recalling Halo’s earlier releases such as “Hour Logic” and the “Spring” EP under her King Felix alias, this EP’s central theme is stripped back techno married with ambient detail. Building on her new direction for live sets, “Behind the Green Door” uses hardware and live instruments, specifically a detuned piano, to create classic Detroit and modern techno influenced tracks of bass-driven rhythms, sinister melodies and lush harmony.

Listen to the very Detroit techno ‘Throw’, perhaps a nod to the Paperclip People (Carl Craig) track of the same name, below.

 

27th May

Laura Marling – “Once I Was An Eagle” (Virgin)

Laura Marling’s back with her fourth album in five years, “Once I Was An Eagle”. Since her the release of her debut album “Alas, I Cannot Swim” in 2008, Marling has released a further three, “Once I was An Eagle” included, in quick succession. The pinnacle of these being 2011’s brooding “A Creature I Don’t Know”. Each album has built on her blend of sharp, lyrical wordplay and a folky musical template built on harnessed anger. With the announcement of “Once I Was An Eagle” (for some reason all of her album titles feature six syllables), Marling has introduced the organ-heavy ‘Where Can I Go?’, displaying she’s at her best when she builds songs slowly from the subtle duo of her cool voice and acoustic guitar to a full band confrontation by the end.  The second taster is the rolling ‘Master Hunter’, which features the very Marling vocal performance of sounding both calm and pissed off.

Liam’s Recommendations

7th May 2013

Talib Kweli – ‘Prisoner of Conscious’ (Blacksmith)

After releasing ‘Gutter Rainbows’ Kweli is to release this new album that he promises will surprise his hardcore fans (and I imagine his critics who say he’s one dimensional) as he takes a different lyrical tack. Guests slots go to Mos Def, Curren$y, Jean Grae, Maino and Nelly?!?, production comes from Hi-Tek, Madlib, Oh No, Terence Martin, E. Jones, Rahki and Symbolic 1.

13th May 2012

Colleen – “The Weighing of the Heart” (Second Language)

The long awaited (5 years in the making) third album from Colleen finally arrives in May. FACT magazine have compared the album to fellow cellist Arthur Russell and two of the world best drone artists Grouper and Lichens. The album is influenced by obscure ethnic traditional music and religious texts and was recorded in a disused olive shop in Spain.

20th May 2013

Daft Punk – “Random Access Memories” (Columbia/Daft Life)

Recent reports confirm that the legendary French dance duo have been collaborating with Niles Rodgers of Chic, veteran songwriter Paul Williams and Panda Bear of Animal Collective on tracks due for inclusion on the album. Looking forward to hearing the results of those collaborations.

G&D – “The Lighthouse” (SomeOthaShip)

G&D sees rootsy singer and beatmaker Georgia Anne Muldrow team up with life-partner Dudley Perkins, aka Oxnard rapper and singer Declaime. Muldrow’s last album was last year’s Seeds, a dusky collection of psychotropic soul produced entirely by Madlib. Perkins, meanwhile, dropped the rap-heavy Self Study LP in 2011, produced by Muldrow. The pair clearly don’t give much of a hoot about the work-life partition; they operate the SomeOthaShip Connect label together, and have pooled resources on a full-length (2007′s The Message Uni Versa) and a string of short-form releases since. New album The Lighthouse, credited to G&D, will arrive in the height of May on SomeOthaShip. A heady brew of hip-hop, jazz and soul is promised – we wouldn’t expect any less.

Advertisements

To a huge cheer and warm Yorkshire welcome, Laura Marling arrived on stage at a packed Leeds Academy that felt like it was doing its best impression of a sardine tin. Marling instantly set the tone for the evening; a mix of a relaxed atmosphere with an occasional injection of tension. She quickly ran through a few tracks (‘I Was Just A Card’, ‘The Muse’ and ‘Salinas’) from her latest album “A Creature I Don’t Know” and I fully expected this to dominate the set. However, Marling surprised and was more than confident enough to dig through her back catalogue with fans singing along to many of the older songs, such as ‘Ghosts’ and ‘Alas, I Cannot Swim’. The most noticeable thing aside from the music was Marling’s stage presence, she held the audience in the palm of her hand without any of the arrogance that goes with that type of performer. Her witty repartee between songs and band member’s facts during the interval provided plenty of entertainment. The end of every song was met with cheering and whooping for which she was almost embarrassed by and thanked the audience for repeatedly. It was great to hear Marling stretch her voice and add bite to her delivery, not something that is always present on record, which added a great emotional resonance to the songs. During the acoustic mid section of the show she premiered a new song amidst amusing banter with a heckler and demonstrated how very naked and exposed her music can be, which isn’t present on “A Creature I Don’t Know”. My only mild criticism is that Marling and her band often replicated the studio sound a little too closely and a rough sound or some experimentation with dynamics/arrangements is something I think helps a live performance stand out but as I said it’s a minor criticism. Overall a superb gig from an artist that continues to grow musically and demonstrates a new found confidence that matches her current stature while retaining humility.

1. The Field – Looping State Of Mind (Kompakt)

Topping this year’s chart is The Field’s “Looping State Of Mind”. The album, Axel Willner’s third, was the most, exciting, accomplished and wonderful releases of this year. Techno in its simplest form is music that can built using just a few loops and The Field expands on this method effectively; multiplying shimmering loops of vocals, synths and drums into one luscious, infinite circular track. Neatly building on the landscapes of his previous releases (“From Here We Go Sublime”, a collection of icy yet deeply affecting techno tracks, and “Yesterday and Today”, which covers a warmer krautrock-indebted area) to merge the best of both into a beautiful seven track blend of electronic music with warm synth arpeggios, droning, pulsing pads and that  Kompakt schaffel. The eponymous loops feel like they could last forever; building and dropping. Here’s to The Field’s next release.

2. Nicolas Jaar – Space Is Only Noise (Circus Company)

Much has been said of Jaar’s prodigious talent and his debut album has rightly gained critical praise. Blending Ricardo Villalobos-esque intricacy with jazz-influenced piano, super-slow techno rhythms, obscure French film dialogue, saxophone and Nicolas Jaar’s own surprisingly deep voice, the album is over-confident but endearingly so. At points coolly sexy (‘Keep Me There’ and the title track), delicate and wistful (‘Too Many Kids…’ ‘I Got A’) and ambient palate-cleansing washes “Space Is Only Noise” is a diverse, self-assured and engaging album and it is a testament to Jaar’s skill that he has delivered such a promising début

3. Morphosis – What Have We Learned (Morphine/Delsin)

Composed entirely with analogue equipment and recorded live over just three days, Morphosis’ first full-length is a collection of the gritty, percussive clatter that is a hallmark of dirty Berlin techno and haunting Arabic/Middle Eastern melodies (Morphosis is Lebanese), made all the more compelling as you can hear him hesitate and pull in and out of time while playing synthesisers on the live takes. Built on round bass drums, moody wanderings and foggy static with assertive grooves and synths that engulf the listener, “What Have We Learned” is the pure techno release of 2011.

4. Gang Gang Dance – Eye Contact (4AD)

Building from the suggestions of bright pop on a track such as ‘House Jam’ from their previous album ‘Saint Dymphna’, Gang Gang Dance have condensed their eclecticism and strengthened the melodies to create a highly impressive and ambitious record in the form of ‘Eye Contact’. Singer Lizzie Bougatsos works her voice as instrument, weaving among the layers of polyrhythmic dance beats, electro-influenced synth riffs and glassy arpeggios. Key track ‘Mindkilla’ combines unhinged dance grooves with Bougatsos’ menacingly singing the American lullaby ‘Mockingbird’, which encapsulates Gang Gang Dance’s approach for ‘Eye Contact’: ecstatic and woozy with an undercurrent of threat.

5. Laura Marling – A Creature I Don’t Know (Virgin)

The voices in the songs of “A Creature I don’t Know” often recall the female characters in John Steinbeck’s novels; their turn-of-the-century environment has hardened them and made them sexually ruthless and capricious. The spirit of Cathy who rips like a tornado through ‘East Of Eden’ possesses ‘The Beast’ and ‘Salinas’, Steinbeck’s place of birth. Yet the songs feel divorced from any particular time or place and lacking in obvious signifiers because Marling does without 21st century details and focuses on the timeless themes of love and desire. Brawling with these primal urges while ignoring current musical trends is a brave artistic choice and her use of symbolic language without putting forth her own personality give the songs the air of Marling as a centuries-old, wandering watchful spirit who has seen and lived everything. Her strengths lie in her commanding performance and her pure voice which carries equal weight whether in the middle of ‘The Beast’’s churning instrument storm or accompanied by just a guitar or piano.

6. Wolfgang Voigt – Kafkatrax (Kompakt/Profan)

In typically eccentric fashion, Voigt has super-imposed his face on to the head of Austrio-Hungarian writer Franz Kafka for the artwork of Kafkatrax. The strange merge goes further with the music contained inside. Every sound except the bass drum is taken from German audiobooks of Kafka’s work, the samples of which Voigt has then sliced, layered and stretched to create several voices speaking in fragmented words and vowels. The abstract stratification of the samples re-produce the paranoia present in Kafka’s writing while Voigt’s experienced hand in intangible dance music knits the sounds into alien and unsettling yet groove-filled techno tracks. If techno is an endless, moving machine then it is albums such as this that keep it in motion.

7. Bjork – Biophilia (Nonesuch)

Autumn was dominated by the exciting news of Bjork’s return after a four-year break and reports that her new album “Biophilia’ would be accompanied by synaesthesia-inspired iPhone/iPad apps. Bjork’s seventh album wonderfully demonstrates her innate use of beautiful harmonies and melodies which shine over delicate, glassy timbres and malevolent basslines and breathless, digitalised rhythms. Her voice and words anchor emotions to the album’s scientific influence and the thread of innocence and wide-eyed fascination that runs through her celebration of the universe prevents any feeling of pretence or aridity. Even after four years away Bjork continues to electrify and surpass.

8. Skudge – “Phantom” (Skudge Records)

The Swedish duo’s debut sells itself on aerodynamic, stripped techno indebted to Robert Hood and Basic Channel’s dense dub techno grooves. Fractured bass lines are countered with dramatic synth stabs, snapping claps and the determined looping rhythms of ‘90s German techno. Standout track ‘Eleven’, which features a solitary, eerie hook over tough bass drums and a lone reverberating clap, is a lesson in contoured, skeletal composition. Geared primarily for the club, the productions are a balance of tension and release that jack and groove for several minutes. Skudge are a dance duo who people should have on their radar for 2012.

9. Gui Boratto – III (Kompakt)

“III”’s intention is built on slow grooves and dark, searing techno. Twin tracks ‘Geluchat’ and ‘Stems From Hell’ sound like Boratto deep in the bowels of Berghain. ‘III’ is hard and confrontational, abrasive and pummelling. Although it isn’t as captivating as his best album “Chromophobia”, “III” continues to display his skill as a producer: the bass drum pounds, bass lines growl and groove and grainy synths coil and graze. His use of peaks and drops are masterful; they tease and reward the listener; pure peak time clubbing. It demands to be played loud.

10. Washed Out – Within and Without (Sub Pop)

As the cover art displays “Within and Without”, Washed Out’s first full-length, is a sensual, physical release. Benefiting from the production work of Ben Allen, who worked on Animal Collective’s “Merriweather Post Pavilion”, “Within and Without” features delicate compositional flourishes such as the reverb-drenched, evocative harmonies on ‘Amor Fati’ and the cracked snare on ‘Echoes’ reward repeated listens, especially on headphones. The gentle arpeggios, slinking beats and soft, pillow-y atmospheres add to the album’s tenderness; the songs are intended for love-making rather than fucking. Album closer ‘A Dedication’ is based on a fragile piano line and Ernest Greene’s most direct vocal performance is the post-coital cosy-up.

Honourable mentions

Perc – Wicker & Steel (Perc Trax)

“Wicker & Steel” recalls The Black Dog’s “Real Music For Airports” release from last year.  Techno, industrial and almost aggressively dystopian with, the vocal grunts on “Start Chopping” aside, very little to humanise the intense percussion and scratching textures of the album’s first third. Slipping out of the abrasive distortion of the opening tracks a sinister mid-section, featuring the deeply unsettling “Pre-Steel”, builds on a more restrained dystopia with dispersed beats, detuned synths and horror-film overtones. The final third kicks back to an overdriven, unrelenting pace, particularly on the track ‘London, We Have You Surrounded’, which some have appropriated as the soundtrack to the capital’s disturbing riots in August. “Wicker & Steel” is an album deeply attentive to its own coherency, consistency and range.

Lucy – Wordplay For Working Bees (Stroboscopic Artefacts)

Lucy bypasses the customary form and structure of techno for his début album. IDM, drones, oblique ambience and dub-techno combine to create a foreboding atmosphere filled with unusual timbres and textures. Partly composed of field recordings from Berlin’s streets and parks, the album’s title plays on the busy crowds concentrated on the city streets. The recordings tangle amongst disembodied vocals and abstract noises which build a sense of dissonant melancholia. When the 4/4 rhythm of  ‘Bein’ breaks out of the ambient climate it feels exotic and somehow forbidden as does album closer ‘Ter’ which filled with pattering percussion building to a stunning, hypnotic climax that contrasts the album’s darkness.

Planningtorock – W (DFA)

Planningtorock’s (Janine Rostron) second release is rooted in the expression of her sexuality which is conveyed by the sweaty atmosphere that recall the cabaret clubs of her adopted home Berlin. Her pitched-down masculine voice drawling sensually “I know my feelings” on opener ‘Doorway’ and “I’m a believer of circular/suckular love” on ‘Manifesto’ coupled with lavish, thick orchestration throughout makes “W” a challenging but rewarding album.

%d bloggers like this: