Ok, so this week’s Questions concerns Festivals, which one are you heading to? I’m not going to any Festivals this year (can’t afford it) but if I could choose one to go to it would be Parkife in Manchester they have some great acts and DJs including Mr. Scruff, Solange and Little Simz. Let me know where you guys and heading who your looking to watching in the Comments.
Welcome to the first proper post of 2017. Some people reading the blog last year may have noticed that I tried to review more music by women, in fact I was trying to strike a 50-50 balance between the music I reviewed that was by men and music that I reviewed that was by women. I managed to get that balance. This year and beyond I want to try and achieve that balance in my own music collection. I know that I may never reach a 50-50 split as there are just less women making music but I feel like I manage to balance these things in the rest of my life (films, T.V. podcasts etc.) While the music industry seems uninterested in pushing women to the forefront of music (other than pop music). I personally love and respect women both in general and in terms of artistic expression especially in music but feel that my music collection doesn’t necessarily reflect it enough. So I want to tackle this lack of balance in my own collection and hope we can all spread this positive message far and wide.
Iâve come across lots of talented artists/bands/producers but Iâve decided to ask for some recommendations as female bands/artists/producers struggle to gain the same amount of attention as their male peers. To help with the recommendations process I have created a list of music that I own by/or featuring women. I hope that this list gives you an idea of my taste and avoids people recommending artists or releases that I already own. I’ve also included a list of priority purchases so you know what Iâve got in mind to buy in the future. Iâd buy them all but my benefit wonât allow for that and I will still buy some music by men as this is about striking a balance rather than cutting something out completely. .
Iâve set up a new Twitter account, @HerSonicFiction, where Iâll share what female artists Iâm listening to now. Feel free to Tweet your recommendations at me or put them in the comments below. If we can all use #HerSonicFiction then we can introduce each other to some great female artists and encourage even more people to listen to and buy music by women.
Albums I already own
Kate Bush â “Hounds of Love”
Elza Soares – “Woman at the End of the World”
Thao & the Get Down Stay Down – “Man Alive”
Lindstrom & Christabelle – “Real Life is no Cool”
Solange – “A Seat at the Table” & “True”
Aretha Franklin – “The Very Best Of”, “Amazing Grace” & “Lady Soul”
The Staple Singers – “Be Altitude: Respect Yourself”
The Slits – “Cut”
Erase Errata – “At Crystal Palace”
M.I.A – “Arular” & “Kala”
Julia Holter – “Ekstasis”, “Tragedy” & “Loud City Song”
âThe Electric Ladyâ is Janelle Monaeâs much anticipated follow-up to her delightfully insane and eclectic debut album âThe Archandroidâ (2010), which featured in my Top 20 Albums of the Year 2010 on this blog. The new doesnât disappoint mixing up a whole range of musical genres across its nineteen tracks and continuing to explore Monaeâs dystopian future where she plays the character of cyborg Cindi Merryweather. The main differences between the two albums is that on âThe Electric Ladyâ thereâs a romantic subplot and Monae has a few attempts at her own take on modern R&B a genre sheâs expressed much frustration with in the past.
The album opens as âThe Archandroidâ did with a classical suite called âSuite IV Electric Overtureâ 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… âGive âEm What They Loveâ 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. Thereâs also a great guitar solo by Prince halfway through the song but Monae is the Purple Oneâs equal and is never in his shadow. Next up is the albumâs first single âQ.U.E.E.N.â 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. Monaeâs first attempt at a straight R&B is âElectric Ladyâ 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 Solangeâs vocals interweave creating harmonic heaven, later they create some fantastic melodies together too. The beat and bass line reminds me a lot of Solangeâs tracks on her own âTrueâ EP and Monae has praised her as one of only artists pushing R&B forward. âPrimetimeâ 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 Miguelâs first verse proper. Despite the cheesy lyrics, sounds and guitar solos, I really like this R&B and I donât like R&B ballads.
âDance Apocalypticâ is a fantastic pop song that combines acoustic rhythm guitar, upbeat drums and great claps. It strongly recalls âHey Yaâ by Outkast, which is no bad thing. âLook Into My Eyesâ, âVictoryâ and âCanât Live Without Your Loveâ show that Monae can deliver emotive vocals, something that sheâs been accused of lacking in the past. Meanwhile, âItâs Codeâ and âGhetto Womanâ 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 âWhat An Experienceâ with its 80âs 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 Monaeâs debut in terms of both ambition and great tunes. You need âThe Electric Ladyâ in your life.
Pantha Du Prince & The Bell Laboratory – Elements Of Light (Rough Trade)
The productions of German artist Pantha du Prince (Hendrik Weber) have always lived on emotional rather than physical tension. They are an evocative and organic flux that while not dance floor-friendly are impressive to behold; majestic and intimate at the same time. So âElements Of Lightâ is a natural and logical extension of the ideas Weber has been incorporating for a while on the exemplary “Black Noise” and “This Bliss” albums. The richly harmonic tones produced by Norwegian group The Bell Laboratory’s real-world percussion bring flesh to the elements of classic minimalism that were folded in to Weberâs emotive techno of previous releases. His use of electronic instruments as a counterpoint to The Bell Laboratoryâs clanging, chiming bells and their bell carillon, made up of 50 bronze bells with a combined weight of three tonnes, are seamlessly woven together with long stretches of the album naturally gliding and swelling in dynamics. It is so expansive and sweeping that the album needs to be experienced as a single, mutating composition. âElements of Lightâ is full of adventure, buzzing with possibilities and surprises and absolute in its focus on music’s power to evoke emotions. This is not an unfocused, clinical instrumental album, rather it is driven by narrative, particularly when Pantha Du Prince and The Bell Laboratory venture into the mazy, complex 10 minute-plus pieces âParticleâ and âSpectral Splitâ. They direct listeners to follow paths and see how they all flow together to form the tracks’ body.
It’s in ‘Spectral Split’ that âElements of Lightâ shows its many tones. From bleary ambience to a Steve Reich-ian use of minimalist momentum, to the weaving of classical and electronic dynamics and textures that Weber is so clearly enamoured with, the track demonstrates his astute understanding of the importance of anticipation and tension in dance music. Almost half of its 17-minute life is devoted to a slow build that finally explodes into joyful colour once all the layers click into place. This sense of release surfaces sporadically throughout and is fundamental to making it work, but it’s always delivered with a great degree of control and patience. The addition of Pantha Du Princeâs techno beats underneath that three tonne carillion can’t help but make the track sound triumphant and celebratory. âParticleâ juxtaposes ominous, church bell-like clangs with lighter tones that skip and twist across its surface. It’s almost giddy at times and doesnât quite finish where the listener expects. Again Weber brings in those recognisable Pantha Du Prince beats and warm embracing swells of bass to act as an anchor, gifting the album with both a sense of wonder and comforting familiarity. âParticleâ, like the album as whole, is full of surprise twist and turns. The flashes of inspiration are the points where the album really excels. These unexpected surprises are what make the album work. The final track âQuantumâ is built on understated ambience, a few glassy notes spinning in kaleidoscopic patterns as it blossoms in to a confident, bouncing techno track glistening with sparkling, fragile textures. Listening to âElements of Lightâ is about absorbing the gradual, evolving transitions by which Weber and The Bell Laboratory travel from one point to the next then return. Their ensemble setup emphasises Hendrik Weber’s talent for arrangements, his way of interlacing electronic and acoustic sounds into a luxurious whole. By underlining his productionsâ strengths: emotive, graceful, warm and rich, âElements Of Lightâ illuminates Pantha Du Prince’s music from within.
Watch Pantha Du Prince & The Bell Laboratory perform ‘Spectral Split’ live:
Liam’s Reviews
Disappointment of the Month
Toro Y Moi – “Anything In Return” (Carpark)
I’ve been a fan of Toro Y Moi since his debut album “Causers of This” (2010) but this follow to the excellent “Underneath the Pine” (2011) is disappointing with its overall tastful and repeatition of sounds. It seems that Toro Y Moi has mostly retreated from the funk infused ambient pop of “Underneath the Pine” and instead opted to persue direction that recalls his dance music side project Les Sins. Opener ‘Harm in Change’ is the first track to adapt this style with its four to the floor beat, claps and piano chords its the epitome of bland house music. ‘Say That’, ‘So Many Details’, ‘Rose Quarantz’ and ‘Touch’ continue in this style with little separate them the same key sounds dominating (four to the floor rhythm, dance percussion, tasteful piano and synth pads and leads), its all very vanilla. Its not all bland dance music though with the funk returning on ‘Cola’ with its tough delayed beats and synth and delicous synth squiggles battling for attention with the lead vocals. ‘Studies’ has a similar feel though the falsatto vocals in the chorus are annoying and the seductive grooveS of ‘High Living’ and ‘Grown Up Calls’ are welcome too. However, were back to the bland with ‘Cake’ electronic balladry, the clumping beats of ‘Day One’. The quasi cosmic house of ‘Never Matter’ and ‘How’s It Wrong’ round out a disappointing third for an artist who’d excelled so recently, I hope that Toro Y Moi returns with something more like “Underneath the Pine” soon.
Solange – “True” (Terrible)
From the buoyant opening single âLosing Youâ to the pounding 80âs drum machine and bass guitar twangs of closer âBad Girls (Verdine version) the quality and pop nous on display on âTrueâ never lets up. In a world full of swallow and bland R&B and pop music Solange finds that combining the best elements of 80âs, 90âs and early 00âs R&B is the best way to revive this stale genre. The songâs are unfussy yet also catchy and instantaneously command the listenerâs attention with their crisp production, plentiful hooks, melodies and often minimal arrangements. The synthetic and real instruments are expertly balanced and the melodies are always present and correct asserting themselves while never being in your face. In a world where every pop song and star is screaming personality and desperately trying to grab everyoneâs attention, itâs refreshing to hear someone who can actually articulate their emotions and personality while taking a step back and communicating at a normal volume. âTrueâ is perfect pop music and I canât wait to hear what Solange does next. I hope she continues to make her unorthodox but striking pop songs.
Mountains â âCentraliaâ (Thrill Jockey)
I have to admit to being sceptical when I heard that Mountains were releasing a new album, as Iâd been really disappointed by their last album âAir Museumâ (2011). However, by the end of the opening track âSandâ I already felt that this was a band heading back to the sound of their finest album to date 2009âs âChoralâ. âSandâ establishes one of the two main strands that the album is split into; this is the half of the album that focuses on complex layering of analogue synths with gorgeous warm interweaving synth melodies and floating modulated pads creating a lush soundscapes that swills around your head. Track two âIndentical Shipâ introduces the second strand of the album with more acoustic instruments e.g. acoustic guitars and piano dominating the mix and changing the feel of the track to a more spacious and sparse while remaining just as effective as the more complex âSandâ. âCircular Câ picks up where âIndentical Shipâ left off but there is a great section part way through where the synths and acoustic instruments blur together being apart and one at the same time, itâs a stunning effect the band repeats on the intro of âLiving Lensâ. âTiltâ expands on bandâs kosmiche musik influences with its acoustic guitar and bowed strings adding a post rock feel to an already impressive sound palette. One important difference between this album and âAir Museumâ is that the later felt like an uncharacteristic wash of sound, that merely aped the bandâs beloved kosmiche musik this album even when the influences are worn on its selves contains enough invention and emotional tension to make it stand out from the many other acts making this type of music. Whether youâre already a Mountains fan or are intrigued by this review, Iâm confident youâll find agree this is another great entry into Mountains back catalogue.
On his much anticipated debut album A$AP Rocky manages to both upgrade his established formula with the high production values of a major label hip-hop album and explore new sonic and emotional territory. For the first half of the album his trademarks abound e.g. chopped and screwed vocals, noise ambience and a ton of self confident swag. However in the second half he finds himself backed up by music that sets a more sombre tone. âFashion Killaâ is the most feminine feeling track by far with its chopped up choir samples and breathy female vocals giving it a light feel, itâs almost a love song and a potential pop single. âPhoenixâ which is produced by Danger Mouse utilise bass guitar, piano and sighing vocal harmonies to stunning effect, delay and pitching effects are used in a subtle and psychedelic way, a subtle nod of A$APâs trademarks. âSuddenlyâ showcases A$APâs story telling abilities (not something heâd shown before) and is a master class in tension and release. The first of album is no worse for conforming to A$APâs established formula the album opens with a thunder clap that gives way to the familiar ambient synth washes and 808 beat drop before A$AP struts onto the track, however the chorus begins us a twist with a picked electric guitar melody backing what may or may not be A$AP singing. Itâs followed by âGoldieâ with blunt percussion, tough hip-hop beats and chopped and simple metallic synth melody. Other highlights include the guest heavy âFuckinâ Problemsâ and â1 Trainâ in which A$AP seems totally at home amongst some of the biggest and hottest MCâs on the current hip-hop scene. Overall âLong. Live. A$APâ is a triumphant debut album and the first Album of the Year contend for 2013.
