Tag Archive: Andrew Bird


Wow, this year has been an exceptional musically and its been so difficult to narrow down these Top Ten Releases of the Year..so far and Honourable Mentions. Aside from the releases in this feature I’ve been enjoying releases by Olafur Arnalds and Nils Frahms, Blockhead, Quakers, Andrew Bird, Errors, Black Bananas, Air, Islet, and Laurel Halo.

Honourable Mentions

Ital – “Hive Mind” (Planet Mu)

Ital’s debut album makes for an interesting listening experience, though this is dance music, it’s unlike to set many dance floors alight. However, this doesn’t make it the album a failure; in fact its inverting of house and techno music structures is a thrilling and disorienting experience. Though by no means a direct comparison its seems that Ital is attempting something similar to Axel Willner aka The Field though Willner inverts the structures of techno, Ital disrupts and stretches them to their limits. Another indirect reference point is that of Cabaret Voltaire’s 80’s era music (and founder Richard H. Kirk’s work as part of Sweet Exorcist, recently anthologised by Warp Records) this seems to a constant in the drum and the influence crops up most obvious on ‘First Wave’ with added disorienting rhythms and synths. The most obvious direct influence outside of dance music is the kosmiche musick of Cluster, Harmonia and to a less extent Tangerine Dream, in fact ‘Floridian Void’ (the highlight of the album) sounds a little like a dark techno take on fellow American kosmiche musick enthusiast Emeralds. I feel sure that the debate about ‘Hive Mind’ will continue throughout the year as it could well turn to be one of those albums the confounds and confuses as much as it thrills and provokes thoughtful analysis.

Clark – “Iradelphic” (Warp)

“Iradelphic” occupies similar sonic territory as the music put out by the Ghost Box label, especially the most recent album by The Belbury Poly, so it seems appropriate that Ghost Box co-founder Julian House produced the artwork for the album. The album combines folk elements such as acoustic guitars, double bass, acoustic drums and strings with synth drones, arpeggios, electronic drums and percussion and psychedelic effects. The icing on the cake is the vocals of Martina Topley-Bird who provides vocals on ‘Broken Kite Footage’, ‘The Pining Part 2’, ‘Secret’ and ‘Open’. The album divides itself into two song types of track more song based and more drone based soundtrack music/palette cleansers and Clark switches effortlessly between the two showing his diversity as an artist. Another string to his bow is that even the song based material features unexpected twists and turns to keep the listener on their toes. With “Iradelphic” Clark confirms himself as deserving of a place among Warp’s most vaulted artists, his varied career to date has rarely seen a drop in quality, he is the equal of Aphex Twin, Autechre and Boards of Canada.

Forward Strategy Group – “Labour Division” (Perc Trax)

“Labour Division” is the debut album by U.K. techno duo Forward Strategy Group following a series of EP’s that have garnered much attention on the techno underground. The album begins with a tension building intro track ‘Indent’ before this really get going on the electro tinged ‘Mandate’ with its arpeggiated, tough bass synth underpinning delay heavy synth FX’s and minimal drums and hi-hats, a real techno juggernaut. From then on scene is set and the duo switch from the disjointed industrial rhythms of ‘Mandate’ and ‘Elegant Mistakes’ (which fits perfectly into Perc Trax current developments) and out and out techno thumpers all filled with tense and taut atmosphere, found sound and influences of 80’s electronic music and experimental post-punk sounds. Tension only lets up on ‘Nihil Novi’ a lighter and more spacious track that features noises that cut through the drums sound and like a steam train. Though “Labour Division” serves first and foremost as functional techno album with plenty of tracks that will be spun in DJ sets, there is also enough experimental sound design and percussion sounds and patterns that it sometimes recalls peers Factory Floor and Carter Tutti Void live electronic mutations. “Labour Division” is an album through and through, properly paced and conceptually put together not like a majority of techno albums that are either an extension of a DJ set or DJ tools. Like their label boss Perc and his own album “Wicker and Steel” Forward Strategy Group are leading the way in innovative techno music.

El-P – “Cancer for the Cure” (Fat Possum)

In some ways this is business as usual for El-P, all the usual signifiers are in place, his lurching, crushing beats, massive dirty synth bass-lines, stuttering vocal samples, stabbing instrument samples. However, one that’s no bad thing and two I believe this is an artist who subtly evolves his sound with each new release. The first difference that jumps out at me is that whereas in the past there were only hints of film music influences on El-P’s production’s “Cancer For The Cure” makes this explicit with a majority of the tracks shot through with a dystopian atmosphere akin to John Carpenter’s soundtracks to “Escape From New York” & “Assault on Precinct 13”. Further to this the album repositions El-P as “a real hip-hop focused musician rather than a beatmaker”; the musicality is turned up to ten and so this already heavy music makes an even greater impact. The album also features a couple of El-P’s most minimal and spacious tracks to date in ‘Stay Down’, ‘Sign Here’ and ‘The Jig Is Up’, in addition to this melodic vocals feature on ‘For My Upstairs Neighbor’, ‘Oh Hail No’  and ‘Works Every Time’. The album feels more thematically together than “I’ll Sleep When Your Dead” (which was great album) and this makes the album feel like it’ll maintain it impact over a longer time. “Cancer For The Cure” runs Killer Mike’s (El-P produced) “R.A.P. Music” and Thee Satisfaction’s “awenaturalE” close for best hip-hop album of year..so far!!!

Symmetry – “Themes for an Imaginary Film” (Republic of Music)

On ‘Themes for an Imaginary Film” Symmetry aka Johnny Jewel and cohort Nat Walker (of Chromatics and Desire) cover a huge range of emotional and musical ground utilising banks of synths, drum machines, guitar, piano, orchestral percussion, Bassoon, Cello and Viola. Despite the vast array of moods and instruments on show the duo create a cohesive and impressive album that wastes non of its 2 hour running time. Though some of material and sounds used recall Johnny Jewel’s many other projects there much evidence of his application of more compositional techniques found film scores and he weaves this into this ambitious album with aplomb. From the song titles to some the sounds selected the album screams film score however this no mere pastiche, more a humble doffing of the cap to the many great score composers that have gone before. In addition to this is the fantastic sound design which ranges from lush, warm and beautiful through to cold, spiky and dissonant, Symmetry and their equipment can feel you with dread, put a smile on your face and everything in between. “Themes for an Imaginary Film” is an amazing achievement that could have so easily failed to live in to its ambition but instead goes above and beyond simply being a tribute to soundtrack music as it captivates and thrills the listener in equal measure. Two hours of instrumental music (with the exception of the last track) won’t be for everyone but it’ll be worth it for those who stick with this incredible album.

Top Ten Releases of the Year… so far 2012

10.       Mirrroring – “Foreign Body”  (Kranky)

Mirrroring is a collaboration that was bound to happen sooner or later between Liz Harris aka Grouper and Jesy Fortino aka Tiny Vipers whose individual styles are so obviously complimentary it was only a matter of time before they worked together. “Foreign Body” is the breathtakingly beautiful result of said collaboration and brings together the transparent drones of Harris’s songs with the picked acoustic guitars and soft vocals of Fortino. Their sound is both gentle and yet thoroughly engaging, it may be lighter than much drone music but it isn’t light-weight. The dynamics employed across the whole album are one of the most striking things about it and demonstrate these are skilled artists able to exercise control while never strangling the life and emotion from a musical idea. The two best examples of this are ‘Cliffs’ which builds to a peak at the halfway stage before repeating an even better version of the song for its second half and ‘Mine’ which starts with a simple drone and acoustic guitar combination builds to a peak and then gradually twists itself into ever more complex shapes. It’s difficult to find the words to describe this astonishing album; it has to be heard to be believed.

9.         Thee Satisfaction – “awe naturalE” (Sub Pop)

In “awE naturalE” Thee Satisfaction have delivered an energetic album filled tracks that both provide amply bounce need for a hip-hop jam but also manages to subtly subvert both traditional methods of creating sounds and challenge the overly simplistic ‘soulful’ vocals used so liberally in hip-hop music. It refreshing to hear an act pushing the limits of hip-hop while still managing to make music that moves your body. The fact that these tracks are stuffed to the gills with soulful vocals, jazzy tunes and an expressive emotional palette makes an engaging and entertaining listen. The half an hour run time demands that the album be played again immediately and is the album is equal satisfying and reveals more of its charms with each repeat listen. Never out staying their welcome and yet able to go distance on the longer tracks Thee Satisfaction will be a welcome addition to your music collection.

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8.         Peter Broderick – “http://www.itstartshere.com” (Bella Union)

This album picks up where Broderick left off with his last solo release “Music for Confluence” and features the same basic instrumentation acoustic/electric guitar, piano and violin. However, there are subtle and not so subtle ways this album manages to differentiate its self from “Music for Confluence”, firstly this isn’t a film soundtrack and thus allows Broderick more freedom of expression. The most obvious ways this freedom is expressed is the album brighter and sometimes more upbeat sound and the fact that Broderick’s lead vocals (which sometimes sound a little like Arthur Russell) dominate whereas only backing vocals were present on “Music for Confluence”. In fact the album features a lot more melodic materials full stop and married with Broderick’s expert use of harmony, reverb and others effects to create atmosphere it makes for much more dynamic material. Throughout the album Broderick successfully tightrope walks between accessibility and pushing the listener beyond their expectations. He achieves this not only with his melodic work and use of effects but also unpredictable song structures on ‘With The Notes on Fire’ (like two songs in one), ‘Colin’ (which initially sounds like the rest of the album before the introduction of percussion pushes the song in a new direction) and ‘Asleep’ and its use of crowd source readings of the lyrics from around the world that disorient and delight in equal measure. “Music for Confluence” is a great album and “http://www.itstartshere.com” is its equal and perfect companion piece.

7.         Blondes – “Blondes” (RVNG INTL)

Blondes self titled debut album sees the duo marrying together modern dance music influenced by the likes of The Field, Gui Boratto and other Kompakt techno alumni and modern Ambient and hynagogic pop acts such as Laurel Halo, Teengirl Fantasy and Rene Hell amongst others. Blondes manage to fuse these two opposites together in way that plays to the strengths of both, you never feel the dance elements are getting bogged down by the atmospherics or that the atmospherics are dominated by the dance elements. The duo encompass a range of emotions across the album from the brighter tracks like ‘Gold’ and ‘Amber’ to the dark and subdued ‘Pleasure via drowned Kraftwerkian synth work on ‘Business’ and foggy tension of ‘Water’. One of the album’s strength is that despite the amount of recycling there is (every second track is a re-versioning of the previous track) the variety on show is impressive as is the duo’s ability to keep the listener engaged and excited by these same/similar elements. Repeat listens reveal more and more detail and that music is underpinned by a subtle influence from the classical minimalism of Steve Reich and Meredith Monk (who the duo sample on ‘Lover’). All in all a great debut album that promises plenty for the future.

6.         Ekoplekz – “Westerleigh Works EP” (Perc Trax)

This EP has been talked about/marketed as Ekoplekz’s first venture into dance floor territory and listening to it you can hear why. However, Ekplekz still keeps his trademark sounds front and centre but the EP uses space more effectively and percussive sounds and deep bass provide the forward motion need. Of the three originals ‘Ekoplatz’ sounds most like his previous material while being underpinned by techno bass and percussion, the other two ‘Narco Samba’ and ‘Xylem Teardrops’ fill more stripped and danceable, while Richard H. Kirk (Cabaret Voltaire) remix of ‘Ekoplatz’ follows a similar template but adds electronic woodblocks, more structural dynamics and some of Kirk’s own idiosyncratic dub sounds. A highly recommended release for those into the darker side of dance music.

5.         Drokk – “Music Inspired by Mega City One” (Invada Records)

This album uses just one synth as its primary mode of composition but Geoff Barrow (Portishead) and BBC composer Ben Salisbury manage to make limitation the mother of invention creating everything from intense drone heavy soundscapes to arpeggio led tracks via more delicate and reflective moments. In many ways the album bears comparison with this year’s other imaginary soundtrack album “Themes for an Imaginary Film” by Symmetry and though it’s not as ambitious as Symmetry’s album its equally as satisfying a listen. Drawing on many classic synth soundtrack staples such as John Carpenter, Vangelis, Walter/Wendy Carlos and with hints of the BBC Radiophonic Workshop and other T.V. music from the 70’s and 80’s. However, repeat plays reveal this isn’t an album that merely imitates and pays homage but reaches the same heights as those great synth soundtrack composers, the album throbs with the tension of a Carpenter score, while Vangelis arpeggios abound and experimental sounds that the Radiophonic Workshop and Walter/Wendy Carlos are thrown in at the appropriate moment and to keep the listener guessing. If Symmetry’s album is the Hollywood blockbuster then “Drokk…” is a homemade marvel and all the better for it.

4.         Killer Mike – “R.A.P. Music” (William’s Street)

Killer Mike and El-P’s collaborative is called “R.A.P. Music” with good reason, it does everything that a modern hip-hop album should. The album has a consistency rarely present on guest and producer heavy albums while it manages to cover a lot of sonic and emotional territory without anything feeling off or put on. The music veers from huge sounding synthetic bangers (‘‘Big Beast’, ‘Southern Fried’ and ‘R.A.P. Music’) to emotive epics (‘Ghetto Gospel’, ‘Reagan’ and ‘Anywhere But Here’) via Southern rap flavoured tracks (‘Willie Burke Sherwood’, ‘Untitled’ and ‘Jo Jo’s Chillin’) and Killer Mike’s flow is just as diverse ranging from the enunciated words of ‘Reagan’ to the super speedy ‘Southern Fried’ and every point in between. What “R.A.P. Music” shows is that when hip-hop is stripped down to its core and rebuilt from button up, in addition to this despite his confident persona it’s clear that Killer Mike isn’t an egotist. He tells stories about other people in his life and discuss wider political issues, the lyrical themes that have been central to hip-hop since 1982 but feel so rare in 2012. “R.A.P. Music” is the first landmark hip-hop release of 2012 and I’m optimistic this can be a very good year for the genre as a whole.

3.         Orcas – “Orcas” (Morr Music)

The debut album from this Seattle duo (Rafael Anton Irisarri (The Sight Below) and Benoit Pioulard’s (aka Thomas Meluch) leaves me lost for words, one of those albums that difficult to describe without selling it short. However, I will endeavour to paint a picture of this heartbreakingly beautiful music. The dominate sounds are plaintive piano, twanging to ethereal guitars and vocals and various crackles, hums and heavily processed electronic sounds. These simple elements are manipulated to create different textures, atmospheres and emotions across nine tracks. Though the duo have created a sound of their own there are some influences/inspirations suggested by the music including Peter Broderick & Harold Budd and Robin Guthrie’s soundtrack work, the noise abstract pop of Broadcast (who are covered on the album) and indirectly reminds me of the latest Oneohtrix Point Never album “Replica”. All this is held together by the song writing touches that are subtly weaved throughout the album helping this album raise above more generic ambient and experimental music releases.

2.         King Felix – “Spring EP” (Liberation Technologies)

The “Spring EP” picks up where Laurel Halo left off with the “Hour Logic EP” last summer, though she has some tricks up her sleeve and the music is a lot harder to pin down. Here the rhythms wiggle and squirm restless and constantly shifting not settling into a smooth groove, this is one of the things that makes the EP so exciting you’re never quite sure what’s coming next. The first three tracks are all a variation on the same theme, Halo is so inventive within this limitation that the listener is never bored by the central theme. I’m not an expert on techno but it seems to me that Halo has carved out her own style while referencing the glory years of early Nineties Detroit techno. The other crucial difference between this EP and “Hour Logic” is that whereas many of the tracks on the previous EP sound submerged beneath water this is Halo least veiled work to date; she lets the tracks reveal themselves and breathe, all the elements able to exhibit themselves equally. The “Spring EP” is a fantastic addition to Halo’s discography.

1.         Julia Holter – “Ekstasis” (RVNG ITNL)

The first thing that marks “Ekstasis” out from both last year’s excellent “Tragedy” and her peers music is the brightness of its sound, gone is the shadowy and foggy atmosphere’s replaced by a sharp and incisive production job to revival today’s most intelligent pop stars. While it’s true that Holter’s not going to be the next million selling pop star this album’s production positions this music as “pop” and the abundance of hooks and melodies only reinforces this point. Then there’s the effortless feel of a lot of the music, despite many of the tracks being over 6 minutes in length. There’s no feeling of over indulgence even when a saxophone rears its head on ‘Four Gardens’ and ‘This Is Ekstasis’ everything here earns its place and makes sense within the context of the songs. It would be tempting to compare Holter to her many contemporaries within the hypnogogic pop genre especially her friend and collaborator Nite Jewel. Though her use of delay and reverb create similar feelings/images the musical and lyrical content aims instead to transport the listener further back than the 1980s and into the ancient world which Holter is so interested in. With “Ekstasis” Holter has created her own sound world that seems to subtly reference pre-existing sounds/genres and rhythms without ever sounding directly like anything you’ve previously heard. An artist who can switch with ease between different sounds and sections without breaking a sweat or alienating the listener, Holter is an artist with a bright and long future ahead of her.

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Some Releases we missed in March

Unfortunately we were unable to listen to some of the releases we recommend for March those releases are Mi Ami’ “Decade” album, the self titled début albums from Geoff Barrow (Portishead) side project Quakers and Voices From The Lake plus King Felix (aka Laurel Halo) “Spring EP”, which I believe may have been put back to the 9th April. But now its time to discuss both a release we missed out of our recommendations and then are recommendations. Let us know what you think of the releases we talk about in the comments or via our Twitter.

Andrew Bird – “Break It Yourself” (Bella Union)

Though this is the first Andrew Bird album I’ve listen to properly I’d always been intrigued by his music since seeing him supporting The Handsome Family in the early ‘00s. I was prompted to check out “Break It Yourself” after enjoying his brilliant contribution to the “Congotronics vs. Rockers” compilation from 2010. The first that struck me about the album was it aesthetic similarities to his Bella Union label mate Peter Broderick both share a love of creating unique sonic married with traditional song writing and play violin though Bird utilises his in many more ways than Broderick. On repeat plays I noticed the album divides into three distinctive types of song one is the more country influenced songs, the next the indie rock tracks (the most disappointing category lacking the imagination and lightness of touch evident elsewhere) and the soundscape based epics/interludes. The highlights of the first type include the strummed acoustic guitar, shape shocks of violin, shuffling beats of ‘Danse Carribe’, the unpredictable ‘Give It Away’ and the sparse ‘Lusitania’. The second type features the album few let downs including ‘Eyeoneye’ which I’m perplexed as to how this song has gained so much acclaim and attention to maybe the single but it’s the worst song on the album. Many of the soundscapes appear towards the end of the album creating a natural climax the best of these is the epic ‘A Hole in the Ocean Floor’ which I’m lost for words to describe though Pitchfork got pretty close with “majestic” “fever dream”. Overall “Break It Yourself” is an excellent addition to Bird’s highly acclaimed back catalogue.

Biggest Disappointment of the Month

Breton – “Other People’s Problems” (FatCat)

The biggest disappointment of the month is the debut album from London based collective Breton, who Sonic Fiction first tipped for big things back in 2011. Breton combine post-punk sounds and aesthetics and sounds with those Dubstep and Electro over the course of their previous three EP’s had produced mixed results but I still had high hopes for this album. However, the album fails on all fronts lacking in both melody and imagination, on paper (and the earlier releases) the combination of sounds is exciting but the problem is that the sounds are generic rather than mould breaking and the unique combination doesn’t make up for this. This is compounded by the singer’s flat and monotonous vocals which quickly grate as the album progresses through it first few tracks. I’m not some who demands that singers/vocalists are able to sing five octaves above middle C, in fact some of my favourite singers struggle to hold a note at all. But Breton’s singer doesn’t have the vocal personality to make up for his lack of singing ability. Breton could be so much more, a Cabaret Voltaire for the 21st Century (they work in both music and video) but they fall well short on this album.

Grinderman – “Grinderman 2 RMX” (Mute)

Last year’s “Grinderman 2” album was one of the biggest disappoints of 2011, the band’s debut album had reignited Nick Cave with its complete abandonment of his usual writing methods and the effect was felt on the next Nick Cave and the Bad Seeds album “Dig, Lazarus, Dig” the second album was set-up to repeat the trick. However, what we got was a lot of lumpen and unsubtle music that seemed to fall victim to the clichés the debut had avoided. This new remix album goes some way to right the wrongs of “Grinderman 2”. The highlights including Nick Zinner’s remix of ‘Bellringer Blues’, Barry Adamson’s cinematic take on ‘Palaces of Montezuma’, Cat’s Eyes version of ‘When My Baby Comes’ (featuring a fantastic shoegaze inspired second half), Factory Floor noisy dancefloor take on ‘Evil’ and the bass heavy version of ‘Heathen Child’ by Andrew Weatherall all share a subtle the original lacked while also delivering the visceral punch the track demand. There are a few interesting remixes that caught me out, I wasn’t expecting Josh Homme to deliver such a dynamic and ethereal version of ‘Mickey Mouse…’ here re-titled ‘Mickey Bloody Mouse’ or the yearning violin and noir country stylings of Six Toes and Matt Berninger intriguing take on ‘Evil’ all of which expand the emotional and sonic palette of the original. There are a few tracks that complete miss the mark too UNKLE produce a dull dirge for their version of ‘Worm Tamer’ (‘Hyper Worm Tamer’), A Place to Bury Strangers & Micheal Cliffe unconvincingly tack on cosmic synths to ‘Worm Tamer’ & ‘Evil’ respectively and Robert Fripp adds unnecessary fret-wank to ‘Super Heathen Child’. Grinderman’s swansong does have some great tracks that make-up for the disappointment of “Grinderman 2” but it’s still a 60/40 split that doesn’t fully convince.

Yeti Lane – “The Echo Show” (Sonic Cathedral)

I only heard of Yeti Lane after reading a review of ‘The Echo Show’ in Uncut magazine so I can’t comment on the progress they’ve made on their second album. However. I can say that it’s an album that lives up to the hype of the positive reviews it’s been receiving. The duo strike a balance between the space-rock of Spacemen 3 and the dream-pop of the likes of the Cocteau Twins, while their synth sounds recall krautrock acts like Harmonia. The album bursts into life with a wall of feedback guitar riffs and synths that set the tone perfectly. The album continues into the warm and more spacious with the focus on electronic sounds though they are offset by twanging guitars. This is followed by the first of four interludes which acts as segues or palette cleansers and help glue the album together. ‘Logic Winds’ (8-bit video game style synth and guitar chime in harmony) and ‘Alba’ (slowly unfurling cosmic dream pop) demonstrate Yeti Lane’s ability to keep things interesting. The album ends with the Twinkling synth arpeggios, twanging guitars, churning synths and hurricane of guitar effects outro of ‘Faded Spectrum’ and the gentle fourth interlude that round out the album perfectly.

Carter Tutti Void – “Transverse” (Mute)

This live collaboration brings together Chris Carter and Cosey Fanni Tutti of Throbbing Gristle/Chris & Cosey/Carter Tutti fame with one of their direct descendents Nik Colk Void from dance floor noiseniks Factory Floor. Unsurprisingly the overall sound is raw and chaotic featuring no post-production touches, however this adds to the appeal rather than decreasing it. Carter provides most of the rhythmic sounds via a selection of drum machines, Korg Monotron micro synth and various effects devices, its Tutti and Void who provide most the harmonic and melodic content, though the sound rarely touches on conventional harmonic or melodic sounds/ideas. They provide these sounds through another Korg Monotron, laptop with various pieces of software and heavily processed guitar, Void even uses a drum and violin bow to create sounds and textures with her guitar. In a recent interview with FACT magazine Carter observed that “You can sense on the recording how we got into the groove, so to speak. We began to lock together more, and figure out what we were doing as the set progressed” and is the feeling you get across the four long form tracks. The grooves improve, the interaction between the sounds seems more responsive and the trio know when one of them should drop out/play more gently to let the others shine. By the last track ‘V4’ the trio are locked a hypnotic groove which pulls the listener in and keeps them locked in even in the tracks most chaotic moments. Overall the album is a great success and while fitting into the lineage of Carter and Tutti’s career. It’s also a unique document in its own right that demonstrates what can be achieved by experiment electronic music created in a short time with a few choices piece of gear. It’d great to hear these three work together again live or in the studio and even better if the other two members of Factory Floor were involved.

Mirrroring – “Foreign Body” (Kranky)

Mirrroring is a collaboration that was bound to happen sooner or later between Liz Harris aka Grouper and Jesy Fortino aka Tiny Vipers whose individual styles are so obviously complimentary it was only a matter of time before they worked together.  “Foreign Body” is the breathtakingly beautiful result of said collaboration and brings together the transparent drones of Harris’s songs with the picked acoustic guitars and soft vocals of Fortino. Their sound is both gentle and yet thoroughly engaging, it may be lighter than much drone music but it isn’t light-weight. The dynamics employed across the album are one of the most striking things about it and demonstrate these are skilled artists able to exercise control while never strangling the life and emotion from a musical idea. The two best examples of this are ‘Cliffs’ which builds to a peak at the halfway stage before repeating an even better version of the song for its second half and ‘Mine’ which starts with a simple drone and acoustic guitar combination builds to a peak and then gradually twists itself into ever more complex shapes. It’s difficult to find the words to describe this astonishing album, it has to be heard to be believed.

Thee Satisfaction – “awE naturalE” (Sub Pop)

In “awE naturalE” Thee Satisfaction have delivered an energetic album filled tracks that both provide amply bounce need for a hip-hop jam but also manages to subtly subvert both traditional methods of creating sounds and challenge the overly simple ‘soulful’ vocals used so liberally in hip-hop music. It refreshing to hear an act pushing the limits of hip-hop while still managing to make music that moves your body. The fact that these tracks are stuffed to the gills with soulful vocals, jazzy tunes and an expressive emotional palette makes an engaging and entertaining listen. The half an hour run time demands that the album be played again immediately and is the album is equal satisfying and reveals more of its charms with each repeat listen. Never out staying their welcome and yet able to go distance on the longer tracks Thee Satisfaction will be a welcome addition to your music collection.

Various Artists – “Stellate 1” (Stroboscopic Artefacts)

Stroboscopic Artefacts’ signifier is dark, abrasive and heady techno and “Stellate 1”, the first of a new series of conceptual releases, features Lucy, Borful Tang, Perc and Kevin Gorman who contribute two tracks each.  Fitting for Stroboscopic Artefacts’ brutal minimalist sonic and visual aesthetics, this is dark, uncompromising music made up of the deep textures and emotive, immersive atmospheres that typically sit underneath deep bass drums. Lucy’s opening tracks ‘Estragon’ and ‘Vladimir’ are brief, delicate pieces of melodic ambient music. Borful Tang’s two contributions are sinister noise excursions while Perc’s desolate ‘Paris’ and ‘Molineux’ twists swells and grainy textures into bleak soundscapes. Kevin Gorman’s ‘Frequency Phase’ in three parts delivers a melodic phrase played through a delay that builds on itself again and again. As the processing swallow the tune, it produces elegant tones that surpass the seemingly simple use of effects. “Stellate 1” promised to be an intellectual release that would tap into the places where electronic music began and by delivering eight unique and accomplished tracks from some of the leading names in present techno, this new series justifies and fulfils its aim and existence; creating anticipation for the next instalment.

Symmetry – “Themes for an Imaginary Film” (Republic of Music)

On ‘Themes for an Imaginary Film” Symmetry aka Johnny Jewel and cohort Nat Walker (of Chromatics and Desire) cover a huge range of emotional and musical ground utilising banks of synths, drum machines, guitar, piano, orchestral percussion, Bassoon, Cello and Viola. Despite the vast array of moods and instruments on show the duo create a cohesive and impressive album that wastes non of its 2 hour running time. Though some of material and sounds used recall Johnny Jewel’s many other projects there much evidence of his application of more compositional techniques found film scores and he weaves this into this ambitious album with aplomb. From the song titles to some the sounds selected the album screams film score however this no mere pastiche, more a humble doffing of the cap to the many great score composers that have gone before. In addition to this is the fantastic sound design which ranges from lush, warm and beautiful through to cold, spiky and dissonant, Symmetry and their equipment can feel you with dread, put a smile on your face and everything in between. “Themes for an Imaginary Film” is an amazing achievement that could have so easily failed to live in to its ambition but instead goes above and beyond simply being a tribute to soundtrack music as it captivates and thrills the listener in equal measure. Two hours of instrumental music (with the exception of the last track) won’t be for everyone but it’ll be worth it for those who stick with this incredible album.

Top Release of the Month

Julia Holter – “Ekstasis” (RVNG INTL)

The first thing that strikes me about the new album by Julia Holter is the brightness of its sound, gone is the shadowy and foggy atmosphere’s of last year’s excellent “Tragedy” replaced by a sharp and incisive production job to revival today’s most intelligent pop stars. Ok, so Holter’s not going to be the next million selling pop star but this album’s production is almost the opposite of “Tragedy”’s. Then there’s the effortless feel of a lot of the music, despite many of the tracks being over 6 minutes in length. There’s no feeling of over indulgence even when a saxophone rears its head on ‘Four Gardens’ and ‘This Is Ekstasis’ everything here earns its place and makes sense within the context of the songs. It would be tempting to compare Holter to her many contemporaries within the hypnogogic pop genre especially her friend and collaborator Nite Jewel. Though her use of delay and reverb create similar feelings/images the musical content aims instead to transport the listener further back than the 1980s and into the ancient world which Holter is so interested in. With “Ekstasis” Holter has created her own sound world that combines the elemental, experimental and electric with the ancient (sounding), accessible and acoustic. An artist who can switch with ease between different sounds and sections without breaking a sweat or alienating the listener, Holter is an artist with a bright and long future ahead of her.

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