- Anthony D'Amico
- Albums and Singles
The French Standard In-Fi label has been one of my casual obsessions over the last few years and this second album from Omertà was my favorite release that surfaced from that milieu in 2022. From what I can tell as an outsider, there appears to be a loosely knit family of artists, psych enthusiasts, and avant-folk weirdos that convene periodically in varying configurations and occasionally an album will eventually surface documenting whatever magic transpired. Omertà unsurprisingly shares key members with other fitfully killer projects like France and Tanz Mein Herz, but this ensemble is an unique animal for a number of reasons. The most striking of those reasons are the breathy, sensuous vocals of Florence Giroud, who I believe is only active in this one project (as far as rock bands are concerned, at least). Giroud’s vocals aside, Omertà is also far more informed by eroticism, dream states, pop music, and chansons than the usual Standard In-Fi fare. To my ears, something compelling almost always seems to happen whenever Jeremie Sauvage & Mathieu Tilly assemble a group of like-minded artists, but Collection Particulière’s “Amour Fou” and “Moments in Love” are easily among the most beautifully distilled and haunting pieces that the label has released to date.
The album’s title translates as “private collection,” which is an allusion to the prolonged saga behind the striking and unusual cover image from Giroud’s younger days. Since the band that has existed at the nexus of art, sex, and dreams since its very beginning, Giroud had hoped to use an image from the same series for the band’s 2014 debut, but when she managed to track down the artist, she learned that a fire had destroyed his workshop and damaged the hard drive containing all the digital copies. The artist vowed to send some images when the data was recovered, but then he abruptly died instead. Later, Giroud was able to contact the artist’s daughter who was managing his archive, but she was only able to provide a photo of a single damaged piece, as the rest of the series had all found its way into private collections. In the original piece, Giroud’s torso was covered with a wax image of a playing card (“holding the ace of spades and the ace of hearts, Eros and Thanatos”), but the wax melted during the fire to become transparent. In keeping with that theme of serendipitous changes in plans, Omertà itself originally blossomed out of an opera that Giroud was working on back in 2013.
I am not sure if that opera ever surfaced in its intended form (Giroud is a sculptor as well, incidentally), but there is nothing remotely operatic about Omertà, as this latest opus feels like an inspired collision between Tortoise, Serge Gainsbourg’s work with Jane Birkin, and arty psychedelia. That marks an delightful evolution from the band’s more single-mindedly psych-focused debut album, as Omertà seem to have gotten very serious about distilling their vision into something more tight, focused, and pop-adjacent (albeit pop from another era). While I enjoy that previous album too, Collection Particulièr is on another level altogether, as Omertà definitely play to their strengths much more this time around and feel like a far more distinctive entity as a result. Unsurprisingly, the main strength is Giroud’s seductive vocals, but the band’s newly muscular rhythm section is another big improvement, as the band make extremely effective use of their two bassists (one laying down a meaty groove, the other taking a more melodic role). The strongest pieces tend to be the sexier ones (“Amour Fou” and “Moments in Love”), as Giroud is an undeniably charismatic, compelling, and sensuous vocalist, but the band’s overall vision is also extremely cool one due to the casual virtuosity of the musicians, the unusually minimalist arrangements, and the propulsive physicality of the grooves. I am normally the absolute last person on the planet who would say something like “I really dig that dude’s bass tone,” but the bass playing on Collection Particulièr has enough visceral heft and richness that it would still be a great album even if the guitar, organ, and synth vanished. Instead, however, Omertà use that simple yet killer bass and drum foundation to create a vacuum in which every cool spacy synth flourish, string scrape, or warm organ chord makes an impact. Granted, not every song quite hits the mark with a perfect bullseye, but even the lesser pieces are still quite enjoyable and the album’s highlights capture a band whose vision, execution, and control are truly on a plane all their own.
Read More
- Anthony D'Amico
- Albums and Singles
The latest from this shapeshifting and anonymous southwestern psych duo marks both their return to Akuphone and the first proper follow up to 2020's landmark The Totemist. To some degree, Ak'Chamel revisit roughly the same distinctive stylistic terrain as their last LP, approximating some kind of otherworldly and psychotropic collision of Sun City Girls and Sublime Frequencies. That said, Ak'Chamel do sound a hell of a lot more like a mariachi band soundtracking a jungle puppet nightmare this time around and that festively macabre vibe suits them quite nicely. The band might see things a little differently themselves, as this album is billed as "a perfect soundtrack for the desertification of our world," but experiencing this lysergic Cannibal Holocaust-esque mindfuck is probably just the thing for helping someone appreciate the wide-open spaces and solitude of desert life. In keeping with that desert theme, there are plenty of prominent Middle Eastern melodies and instruments on the album, but Ak'Chamel is singularly adept at dissolving regional boundaries (and possibly dimensional ones as well) in their quest for deep, exotic, and oft-uncategorizable psychedelia.
The album opens in deceptively straightforward fashion, as the first minute of "The Great Saharan-Chihuahuan Assimilation" starts with a minor key Spanish guitar and hand percussion vamp. However, subtle signs of unreality gradually creep in (such as the eerie whistle of throat-singing) before the piece blossoms into a spacious and melodic interlude of Tex-Mex-style surf twang. The following "Clean Coal is a Porous Condom" is similarly musical (if unfamiliar), as Ak'Chamel sound like some kind of outernational supergroup trading Latin, Indian, and surf-inspired licks over a pleasantly lurching "locked groove"-style vamp. Both pieces are quite likable, but the album does not start to wade into the psychedelic deep end until the third piece (the colorfully titled "Amazonian Tribes Mimicking The Sound of Chainsaws With Their Mouths"). Unusually, it is a jaunty yet bittersweet accordion-driven piece at its heart, but the central motif is beautifully enhanced by layers of vivid psychotropic sounds (flutes, voices, ululating, eerie whines, pipe melodies), resulting in something that feels like a festive collision between The Wicker Man and a haunted street fair at the edge of the Amazon.
Happily, Ak'Chamel keep that phantasmagoric momentum going without interruption for the remainder of the album. In "Ossuary from the Sixth Extinction," a mournful banjo-like melody and tropical-sounding percussion lead into a harrowing rabbit hole of curdled pipe melodies, quivering strings, and an immersive mass of chants and howls. Elsewhere, the following "Soil Death Tape Decay II" begins life as dueling Middle Eastern-inspired oud solos over a bed of buzzing drones, but unexpectedly transforms into an obsessively looping melody that passes through various stages of tape destruction as voices wail and ululate around it. "Sheltering Inside a Camel" takes an even more sustained plunge into the hallucinatory (it is the longest piece on the album at nearly 11-minutes), as desert psychedelia, sinister puppet-like voices, throat singing, and a goddamn horn section collide in singularly disorienting fashion. The album then winds to a close with one last darkly hallucinatory gem, as "The Cabinet of the Atomic Priesthood" unexpected transforms from something resembling choir practice at a demonic cathedral into a sublime coda of slow, exhalation-like chords; flickering mindfuckery; and eerie pipe melodies that fade in and out of focus. Admittedly, Ak’Chamel do exceed my personal bombast tolerance at times (particularly in the closing piece), but they invariably wind up somewhere compelling and it a delight to find them in such melodic and focused form again. As with The Totemist before it, A Mournful Kingdom of Sand makes a rare and ideal entry point into this duo’s oft-prickly, bizarre, and enigmatic oeuvre and affirms once again that they are one of the most consistently fascinating and creative bands in the psych scene right now.
Read More
- Anthony D'Amico
- Albums and Singles
This latest album from Carla dal Forno is her first since relocating to a small town (Castlemaine) in her native Australia and that dramatic change in environment has understandably made quite an impact on her overall vibe (as the album description puts it, she "returns self-assured and firmly settled within the dense eucalypt bushlands"). Fortunately, it seems like the transformation was an entirely favorable one, as literally everything that made dal Forno's previous work so wonderful and distinctive (ghostly pop hooks, stark bass-driven post-punk grooves, tight songcraft) remains intact. Now, however, her bloodless pop songs are charmingly enhanced with an understated tropical feel as well. For the most part, Come Around is still light years away from anything like a conventional beach party, but songs like the title piece at least come close to approximating a hypnagogic one. Aside from that, dal Forno also displays some impressive creative evolution on the production side, as these nine songs are a feast of subtle dubwise and psych-inspired touches in the periphery. That said, the primary appeal of Come Around is still the same as ever, as dal Forno remains nearly unerring in churning out songs so strong that they truly do not need anything more than her voice, a cool bass line, and a simple drum machine groove to leave a deep impression.
The opening "Side By Side" is a damn-near perfect illustration of dal Forno's distinctive strain of indie pop magic, as crashing waves give way to a rubbery, laid-back bass line and a bittersweet, floating vocal melody. Lyrically, dal Forno still seems to be in the throes of heartache, but also comes across as very clear-eyed, confident, and sensuous. That turns out to be quite an effective combination, as these nine songs radiate deadpan cool and wry playfulness while still maintaining palpable human warmth and soulfulness at their core. That alone would be more than enough to carry this album (along with all the great hooks and bouncy slow-motion bass grooves), but dal Forno is also unusually inventive with beats, psychotropic production touches, and the assimilation of unexpected influences this time around. The album's stellar title piece is a prime example of the latter, as it feels like dal Forno seamlessly mashed together The Shangri-Las and Young Marble Giants to soundtrack a surf movie for ghosts.
The album's other big highlight is "Stay Awake," which combines a minimal tropical groove with a morosely funky bass line and spacey psychedelic smears. It is admittedly a bit more overtly melancholy than some of the other pop-minded cuts, but that darker tone is nicely balanced by the propulsive riff, seductive vocals, and Latin-inspired drum machine pattern. It captures how I imagine Joy Division might have sounded post-Ian Curtis if they had relocated to Havana and enlisted a femme fatale frontwoman instead of reinventing themselves as New Order (a missed opportunity, for sure). The more upbeat "Mind You're On" is another fine would-be single, as dal Forno adds finger snaps and bird-like warbles to the mix, as well as a wonderfully poignant final hook ("it's ok, ok, ok, you're on my mind"). The remaining five songs are characteristically solid (if divergent) for the most part as well, though they tend to be a bit less hook-focused (aside from "Slumber," a duet with Thomas Bush). Obviously, some more hot singles would have been welcome, but the occasional instrumental or buzzing descent into psychedelia work quite nicely from a sequencing standpoint, as Come Around is an absorbing and evocative whole. Admittedly, I still have yet to warm to the sleepily ethereal closer ("Caution"), but this is yet another excellent album from dal Forno and easily features some of her strongest songwriting to date (at least three instant classics, by my count).
Read More
- Duncan Edwards
- Albums and Singles
As a teenage surfer Matt McBane became obsessed with the sea and the way in which the bathymetry of the ocean floor affects the way that waves break. His composition Bathymetry mirrors that relationship, with his bass synthesizer providing the platform to shape the more trebly waves of varied percussion played by Sandbox Percussion (a well-named and playful ensemble). On the surface, this album is slightly out of my, rather idiosyncratic, comfort zone. The accompanying videos were off-putting and (politeness dictates that I cannot write what I would cheerfully do with them) ping-pong balls overused. Despite this, my listening curiosity was piqued and held steady. Then halfway through the 40 minute duration, the track "Groundswell" completely won me over, and I rode a wave of enjoyment all the way to the end. Later on, afer repeated listens, it occurred to me that the same process happens on each track, as bursts of percussive grit, pops and scrapes away, to eventually leave the rewarding pearl.
For whatever reason, I found that the second half of Bathymetry has a greater emotional and melodic impact, perhaps due to the slower pace and less cluttered soundscape. This allows the synthesizer to be more prominent and the percussion more glassy and transparent (maybe hitting bottles and bowls, or using vibraphone, instead of dropping the aforementioned balls). I have heard nurses describe conversations with certain patients as like playing table tennis with someone who rarely tries to hit the ball back and I detect a similar movement, and progression, here. As intriguing the first twenty minutes or so is, from "Groundswell" onwards it's game on. The use of a traditional drum kit there, and also on "Refraction" comes as a refreshing surprise and the effect is propulsive, as if we've been lowered slowly down into the depths of the ocean which is intriguing, but now are off and zooming around exploring in a small submarine. At several points, including "Coda", we hear what could be an underwater bell or gong; very appropriate as similar to sounds punctuating Hendrix's extended aquatic-themed pieces "1983 A Merman I Should Turn To Be" and "Moon, Turn the Tides… Gently Gently Away." The feel of Bathymetry becomes rather like improvised ambient chamber music with overtones of both dub and Harry Partch, although his percussive bowls were called cloud chamber bowls and it's possibly a breach of some critical rule to mention his name and the word "ambient" in the same sentence.
This release also got me thinking about the idiosyncrasies of taste. One example: I have always trusted the sound of murky recordings from the early 20th century and associated the accompanying vinyl crackles and scratches with a kind of primal sophistication. Those sounds trigger (in me) a stamp of approval, to certify raw soulfulness, noble creativity, and unadorned reality, all of which should be loved. The flip side of this is my subconscious mistrust of (not all) slicker recordings, and knee-jerk caution when approaching music which seems "well-dressed'' in the sense of favoring a sophistication based upon greater clarity of production and technical ability. It's a definite bias and one which I have no intention of abandoning any time soon, despite exceptions which prove the rule, such as Bathymetry.
Read More
- Creaig Dunton
- Albums and Singles
Prolific artists on their own, the duo of Eric Hardiman (guitar/bass/electronics) and Michael Kiefer (drums/keyboards) have still managed to put out their third album in four years as Spiral Wave Nomads. The spacey, psychedelic tinged guitar/bass/drum excursions are of course expected by now, but the inclusion of additional electronic instrumentation makes Magnetic Sky even greater.
With six songs spread across two sides of vinyl, the duo keeps their performances somewhat succinct, given the improvisational approach. Dynamic drumming and long guitar passages tend to be the focus, but there is so much more going on in the layers beneath. Both Kiefer and Hardiman contribute electronics/synths this time around, and the watery sounds that open “Dissolving into Shape” nicely flesh out the restrained drumming and commanding lead guitar. “Under a Magnetic Sky” is also bathed in soft electronics, covering the outstretched guitar, prominent bass, and taut drumming like a warm, fuzzy blanket. “Carrier Signals” features them leaning a bit more into jazz territory, punctuated with pseudo-Eastern melodies, unconventional drumming, and sitar-like drones.
The other side of the record leads off with “Pharoah’s Lament,” an appropriately mournful guitar lead stretching through effects laden 1960s guitar fuzz. Compared to the density of the first half, there is a more straightforward structure here, with the mix overall kept tastefully sparse. The remaining two performances see the duo going in the opposite direction, turning up the abstraction and dissonance. The chaotic opening to “Rogue Wave” makes the title seem especially appropriate, as twanging bent notes and scraped guitar strings fly off in every direction. It is not an especially dense or oppressive vibe, but certainly a nice bit of messiness. Album closer “Lurking Madness” leads off with bleak electronics as guitar and drums slowly fade in. It is comparably more anomalous in structure, but by no means formless, and the heavier use of electronics throughout certainly fit the “lurking” feel conjured by the title.
Three albums in, Spiral Wave Nomads continue to impress and expand: in this case the addition of electronics and synths is notable, although does not drastically change the dynamic and instead set the foundation for which Hardiman and Kiefer improvise. The duo never seemed to have any difficulty finding their voice, and so Magnetic Sky feels in line with the previous albums, but even more varied and complex, proving the two are adept at far more than improvisation alone.
Read More
- Anthony D'Amico
- Albums and Singles
This is the first full-length collaboration between Sabra and Tabbal, but it is apparently also the sixth collaborative release between Portland's Beacon Sound and Lebanon's Ruptured Records (which was co-founded by Tabbal). While Tabbal's solo work has been a very enjoyable recent discovery for me, this is my first encounter with Julia Sabra, who is normally one-third of the excellent Beirut-based dreampop trio Postcards. The pair do have a history of working together, as Tabbal has co-produced several Postcards releases, but their creative union only began to take shape in the aftermath of Beirut's massive 2020 port explosion (which destroyed Sabra's home, badly injured her partner/bandmate Pascal Semerdjian, and displaced a whopping 300,000 people). Unsurprisingly, one of the primary themes of Snakeskin is the precarious concept of "home" and the "the disappearance of life as we know it" in a volatile and oft-violent world. Those are admittedly more urgent themes in Tabbal and Sabra's neck of the woods than some others (the album was also inspired by the 2021 Palestinian and the invasion of Armenia), but loss and uncertainty eventually come for us all and they make a universally poignant emotional core for an album. And, of course, great art can sometimes emerge from deeply felt tragedies and Tabbal and Sabra are a match made in heaven for that challenge, as Julia's sensuous, floating vocals are the perfect complement to Tabbal's gnarled and heaving soundscapes.
The first piece that Sabra and Tabbal wrote together was "Roots," which surfaced last year on Ruptured's The Drone Sessions Vol. 1 compilation. That piece is reprised here as the sublimely beautiful closer, which was a great idea as it is one of the strongest songs on the album. However, it also illustrates how this collaboration has evolved and transformed, as "Roots" has the feel of a dreamy, bittersweet synth masterpiece nicely enhanced with hazy, sensuous vocals. Execution-wise, it is damn hard to top, but the duo's more recent work feels like a creative breakthrough that is greater than the sum of its parts. Put more simply, the pair previously merged their two styles in an expected way to great effect, but then they started organically blurring into a single shared style and the results turned into something more memorable and transcendent. The first major highlight is "All The Birds," which calls to mind a collision between the murky, submerged dub of loscil and what I imagine a bossa nova album by Julee Cruise might have sounded like. As cool as all that sounds, however, the reality is even better due to the muscular, snaking synth undercurrent and surprise snare-roll groove.
As an aside, the Julee Cruise resemblance may be no coincidence at all, as one of Tabbal's earlier albums features an unambiguously Twin Peaks-inspired title.
Snakeskin's other immediately gratifying stunner is "In Our Garden," as ugly viscous synth sludge blossoms into an incredibly haunting vocal piece that grows steadily more compelling with psychotropic bird-like flickers and flutters, seismic crunches, and a delirious synth crescendo of swooning romantic grandeur shot through with deep sadness. That feat is immediately followed by my personal dark horse candidate for the album's centerpiece, "One By One." The thread that holds the piece together is Sabra's half-unsettling/half-mantric repetition of the title phrase, but the pair unleash one hell of a roiling and lysergically smeared maelstrom around it. Moreover, the production is absolutely dazzling, as it feels like an impossibly complex living tapestry of visceral textures and churning, heaving movement (and it somehow ends feeling akin to a hallucinatory bell ceremony in a lost mountain temple). Notably, there are only eight songs on the album, so Snakeskin would still be half-brilliant even if all the remaining songs sucked, but the other four songs are just a slightly lower tier of greatness, ranging from gnarled, feedback-ravaged ritualistic drone ("Snakeskin") to something resembling chopped, screwed, and deconstructed Crystal Castles ("Signs"). With eight songs and eight hits, this is a serious album-of-the-year contender.
Read More
- Anthony D'Amico
- Albums and Singles
I was a bit later to the Angelo Harmsworth party than I would have liked, but the Berlin-based American composer has been fitfully releasing very distinctive blown-out "ambient" albums for about a decade now on an array of hip and discriminating small labels (Opal Tapes, Vaagner, enmossed, Psychic Liberation, etc.). Harmsworth's latest is his first for Students of Decay and marks a rare vinyl outing, as most of his previous physical releases have been limited to cassette. According to the label, Singe "may be the high water mark" of Harmsworth's career to date, which does feel like a completely plausible claim, but one that is very hard to confidently echo given how many killer Harmsworth pieces already exist. Even if Singe fails to conclusively eclipse all of Harmsworth's past triumphs, however, it does seem to be one of his most consistently strong releases and an ideal starting point for the curious. Notably, describing Harmsworth's vision as "ambient" or even "power ambient" feels cruelly reductionist, which is probably why he amusingly titled a 2020 release Fully Automated Luxury Ambient. That imaginary subgenre feels much closer to the mark, as the intensity and textural inventiveness that Angelo brings to these compositions shares far more common ground with artists like Tim Hecker or Fennesz (or collapsing power lines during a live volcano) than it does with anyone trafficking in droning, meditative loops.
Those craving the aforementioned "collapsing power lines" vibe will have a mercifully short wait, as the opening "Igniting the Periphery" calls to mind buzzing high tension wires swayed by a deep seismic shudder as the surrounding buildings collapse in slow motion. There are some other elements as well, like fragments of twinkling piano and warm waves of frayed drones, but the viscerally heaving, buzzing, and gnarled wreckage at the heart of the piece is the showstopper—everything else is just there to color the mood. That balance holds true for the rest of the album as well, as the Singe experience feels akin to wandering through six cataclysmic yet weirdly beautiful natural disasters. For example, the crackling and hissing "Frothed" evokes slow jets of magma breaking through a buckling, blasted landscape, while "Drip Motion" has the feel of a storm slowly forming and then slowly dissipating. In short, Harmsworth harnesses the proverbial "force of nature" and wields it beautifully. That said, "Drip Motion" is an album highlight for more conventionally musical reasons as well, as it resembles the burning and heaving wreckage of a killer Porter Ricks cut fading in and out of focus. "A Twofold Excess" then ends the album's first half with yet another gem, as it feels like slowed-down footage of a tornado ripping apart a sawmill before dissolving into a sublime coda of sputtering static, tender piano, and warbling, whimpering streaks of psychedelia.
Somehow, the weather forecast only gets crazier for the album's second half, though that is hardly surprising given that "Aporia" seems to not even be earthbound anymore, as Harmsworth conjures a buzzing and shuddering alien landscape of strangled static and quivering feedback. In addition to that, there are some elements that sound like field recordings of a welding crew on the Death Star along with a guest appearance by Felisha Ledesma. Sadly, Ledesma does not stick around very long (I'm a big fan of her Fringe album), but a human voice emerging from the howling industrial ruin was unexpected enough to leave an impression regardless. Elsewhere, "Reversing the Procession" calls to mind flickering ghosts in the burning, buckling hull of a sinking shop and probably marks the album's zenith as far as sheer churning physicality is concerned. The closing "Scope Neglect" may be the album's zenith beauty-wise though, calling to mind slow-motion footage of a burning spacecraft breaking apart as it falls to earth. Hell, I'll even throw in a dramatic sunset as a backdrop, as "Scope Neglect" is an absolutely gorgeous example of Harmsworth's vision of elemental power and blackened beauty. And Singe is one hell of an album. In fact, I would be hard pressed to think of another artist who could have made an album in this vein without lapsing into unlistenable bombast or erring too much into the "noise" or "ambient" side of the delicate balance. In Harmsworth's hands, however, Singe feels like a series of vivid field recordings taken from the end of the world.
Read More
- Duncan Edwards
- Albums and Singles
Dave Clarkson is a gem who has flown under my—far from infallible—radar for about 30 years. There are upwards of 40 releases emanating in his impressive catalog, from the Cavendish House studio, including many of these Guides which have focused on everything from beaches, caves, forests, and lighthouses, with tangents to rain, ghost stories and illness. That another of his albums, For Horselover Fat by Eye In The Sky has a bash at honoring the concerns and creativity of the astonishing Philip K. Dick is right up my alley.
I love everything about A Pocket Guide To Dreamland: the concept and how it sounds of course, but equally the perfect anorak-fetishistic packaging of the physical release with badges, a transparent orange cassette, postcards, and its cover label paying homage to Ordnance Survey maps above images depicting the almost psychedelic childlike thrill of a seaside funfair along with a gritty high rise apartment block tower. I almost expected some recreated cut-out coupons from The Eagle * comic for a day at Butlins Holiday Camp (Admit Family of 4 to unglamorous Skegness location).
The recording is topped and tailed by tracks featuring a wheezing fairground organ (aptly appalling and eerily comforting in equal measure), and it is an album of two halves. The first half could serve as a brash snapshot of these coastal locations in their heyday with the annual influx of pleasure-seeking holidaymakers frantically rushing to disappointment. The title of the brief opening piece, "Organ Donor," clues us to the field-recording aspect of Clarkson's methodology but "Rollercoaster Ghost" soon shows the range of his production techniques, blending clattering rhythms, unbridled screams, and the calm resolution which can only come from the plucked strings of an acoustic guitar. His choices always work, whether sources are untouched, blended together, or processed to the point of virtual obliteration.
On "Spectral Pier Ballroom," Clarkson patches together what sounds like demolition noise and the sound of crashing waves with three musical recordings of his late father and grandparents. A vivid sense is created of something being swept away, part the pathetic cruelty Pinky the pathetically cruel gangster from Brighton Rock and part the doomed unspoken romance of Mr Stevens and Miss Kenton from Remains of The Day, but brutal either way.
The second half of this excellent album starts with "Penny Arcade in the Rain," where he makes something great from thunder, coins dropping into greedy game machines, a breezy, sweeping tempo, and a few mocking caws from seagulls. From that point a softer wave of memory washes gently back and forth. "Tiny Lights (Magic in a Child's Eyes)" is well titled, a sound reminder of why parents dragged themselves annually to these towns in the first place.
Midway through the blissful "Coastal Ghost Towns," I had become an eight year old again, walking with our family friends along the seafront at night between Sutton-on-Sea and Mablethorpe, could literally feel my teeth crunching through the hard shell of a toffee apple and see my sister's mouth chasing the evaporating pink fluff of candy floss, while my father's irrepressibly exuberant voice somehow stands out over the waves crashing violently into the seawall.
[*The Eagle was also home to heroic Dan Dare and his alien nemesis The Mekon, the latter the inspiration for the group originally from Leeds.]
Read More
- Eve McGivern
- Albums and Singles
As John Jagos sings "Save me from the grip of the modern age" early on in "Tangerine," the opening track of the latest from his alter-ego Brothertiger, three words spring to mind: sparkling, honest, and nostalgic. Indeed, the music hearkens back to the ilk of carefully crafted new wave sounds in the vein of ABC and Spandau Ballet, minus any flamboyance and serving up no pretentiousness. What remains is perfectly composed chill electronic pop, melody at the forefront. With sounds like summer wafting wistfully through headphones as I write, this is music perfect for road trips in the middle of nowhere, lounging on a beach recliner while the waves roll in, or simply snuggling under a blanket with the music present like a good friend.
Compiling tracks previously released as singles on his Bandcamp page, Brothertiger showcases the continued growth Jagos displays following stellar releases Paradise Lost and Out of Touch. The catchiness of Jagos' melodies belies the potent, often dark underpinnings of his art through his use of lyrics. Take "Be True" as an example, leading off like an anthem to struggling youth learning to find themselves: "Always be true, Ring true like a bell, Resonate through you, Elevate myself" but injecting caution into the manifesto in the chorus:
"I finally built the walls around me
Completely up surrounding
Finally built the walls around me
Completely up."
Jagos is unafraid to make forays into deeper topics like the dissolution of relationships ("Torn Open"), the desire to escape one's own life ("Wallow." "Summer Wave '98"), and in "Heaven," a disenchantment with faith:
"They say the word becomes the weapon
How do you recognize the pain in you?
I lost my way to heaven
A new state of mind that I fell into"
The love-be-damned "Torn Open" is wildly contrasting as guest Yvette Young sings her impassioned heart out with Jagos, the song sounding like an homage to eternal love, melodically bursting with joy and positive expectations. Listen closely to the lyrics, and it is anything but this: "Do you remember / Rain or shine / We'd be together every day / Now ever day I cry / Feeling I could die / Cuz the pain inside never goes away." Pristine, undistilled honest pop, but do "pop" singers coat their darkness in such bright and cheery trappings? Perfection never tripped me up so pleasantly.
Other songs like "Arizona" and "Dancer on the Water" have the same underlying thoughtful lyrics but are just as pleasant to take at face value. Jagos inserts what appear to be auto-biographical touches in nearly every track, but it's ok to sit back and enjoy the ride, watching the scenery as it rolls past.
The wonderful sounds of Brothertiger may be heard here.
Read More
- Anthony D'Amico
- Albums and Singles
I was caught completely off guard by this latest opus from Dalt, as much of it sounds more like a three-way collaboration between Astrud Gilberto, Perez Prado, and Walter Wanderley than anything resembling the warped and stark electronic pop mutations that the Colombian composer has become synonymous with. After my initial disbelief subsided, however, I quickly decided that ¡Ay! may very well be the strongest album of Dalt's career to date. I suspect Dalt herself would probably agree, as it would be fair to say that her vision remains as compelling and innovative as ever, but she has merely kicked her self-imposed artistic restraints to the curb and embraced the warmer, more sensuous, and melodic sounds that she grew up around. Or, as the album description colorfully puts it, "through the spiraling tendencies of time and topography, Lucrecia has arrived where she began." In any case, the end result is a wonderfully sultry and evocative collection of seductive vocals and tropical rhythms beautifully enhanced with a host of psychotropic and industrial-damaged touches. And she somehow makes it sound like the most natural thing in the world. I definitely did not expect Dalt to secretly be a tropical pop genius at all, which makes her previous albums all the more fascinating now that I know that they were made while pointedly suppressing some of her greatest strengths.
RVNG Intl.
The opening "No Tiempo" initially evokes a "late-night cable" fever dream vibe in which a Bela Lugosi vampire movie blurs into an organ-happy televangelist, but it quickly transforms into swaying tropical bliss once the flutes and the lazily sultry groove make the scene. It has the feel of a Wanderley/Gilberto collaboration that has been punched up (and sexed up) for contemporary ears by an intrepid DJ (though I was still startled by the brass finale). It is a great piece, but it is immediately eclipsed by the following "El Galatzó," which masterfully combines hushed, confessional-sounding vocals with bass strums, trilling flutes, cooing backing vox, swelling strings, industrial scrapes, strangled feedback, and killer hand-percussion to cast a sustained spell of noir-ish, cinematic seduction. While "El Galatzó" would be my personal pick for the album's reigning highlight, the album is not hurting for other hot contenders for that honor. In "Contenida," for example, a hallucinatory fog and a jazzy double bass motif cohere into some kind of humid and dubby bossa nova mindfuck, which then beautifully erupts in a viscerally clattering metal percussion frenzy. If the whole album sustained a similarly perfect balance of ambitious dub/industrial production brilliance and sultry songcraft, I would have no hesitation at all about proclaiming ¡Ay! to be the album of the year.
Instead of flogging that winning formula to death, however, Dalt opted to explore some alternate flavors of dubby, industrial-gnawed seduction with the remaining pieces. On "Atemporal," Dalt strikes gold again with a simmering groove, soulful horns, and a warbly Farfisa-sounding hook. Elsewhere, "Gena" returns to languorously noir moods, resembling a deconstructed Perez Prado cut enhanced with Thirlwell-esque blurts of artificial brass and a host of texturally delightful dub flourishes. Literally every single song on the album is compelling, however, as Dalt keeps finding new ways to surprise and delight me. Sometimes she plays things almost unrecognizably straight ("Bochinche"), while other pieces pack bracingly gnarled crescendos or psychotropic flurries of panning and echoing percussion. Other times, I am blindsided by arrangements so ambitious that I would have guessed that a major motion picture studio had lavished Dalt with money to assemble her own Xavier Cugat-esque all-star orchestra. Sadly, that probably did not happen, but Dalt did enlist an impressive batch of guest musicians to bring her dream to life nonetheless. Moreover, she managed to make this album in Berlin during a pandemic rather than from a seaside town in 1960s Brazil, Colombia, or Cuba, which makes her something of a master illusionist as well. The sole caveat with ¡Ay! is that a lot of Dalt's previously distinctive idiosyncrasies are present in more muted form than usual, which may disappoint fans of her more "outer limits" tendencies. To my ears, however, Dalt has actually transcended those tendencies in inspired fashion, as ¡Ay! feels more natural and less self-consciously arty than her previous work (and it does not hurt that it is absolutely packed with hooks as well).
Read More
- Duncan Edwards
- Albums and Singles
This is Mikko Singh's best and most consistent record yet as Haleiwa. Both his first full length releases Pura Vida dude and Palm Trees Of The Subarctic were light and dreamy, while his third Cloud Formations accelerated Haleiwa onto another level, driven by good tunes and several great moments, not least the plunge through synthesizers into warm bass driven melody on the opener "HKI-97," and the digital blips of "Foggy" which (perhaps unconsciously) resembles Brian Wilson frantically transposing part of "California Girls" into morse code. That third record heralded a deeper sound, perhaps because Singh switched to analog cassette and reel-to-reel tape recording, and it also included more variety although for no clear reason. Hallway Waverider avoids that pitfall by finding a sweet spot and then showing little or no desire to move very far away.
Of course there is variety here, but it is subsumed beneath a definite creative vision; a vision which looks backwards. Dedicated to his mother who passed away in 2015, and inspired by his own earlier self spending winter months skateboarding in his bedroom while listening to music. The overall sound is of music for surfing, but surfing on air, memory, and metaphor, back to the halcyon days of carefreeness and family love. If there is any slight hint of original Dick Dale surf guitar twang (or even Psychocandy style surfing on polluted Glaswegian effluent) it has died peacefully and gone to heaven in a sonic envelope of featherlight fuzz.
There is a subtly brilliant motorik drive underlaying parts of the album, though, right from the anthemic first track "River Park/Sleeping Pill." This quality partly stems from the drumming, but also comes out of pulsing synthesizers, from lovely hollow bass-driven echoing melody lines, and enveloping production. All this naturally adds to the sense of continual movement going nowhere fast. If popular music, on a count of 1,2,3,4, often lurches forward in a linear fashion heading off: down the road, over the hillside, into the future, then by contrast Hallway Waverider seems to spin its wheels on the spot, staying close to zero or even shifting backwards into imaginary numbers, passing the square root of minus one on the way to nothing but itself.
I once had a weekly 2 hour radio slot (Tuesdays usually) and after some months realized that I was fond of choosing the show's final track and invariably prepared by picking that and then working backwards. Eventually I had so many final track possibilities stockpiled that any given show could consist of around 60% of these final tracks. If I were to do a show now, anything from Hallway Waverider would fit the final track bill, fading in and out as if it had already been playing and would continue to play long after it seemed to have disappeared out of earshot. The album is a consistently fine listen all the way through, as it floats through "A Bottomless Pit," picks up some static grit on "Watered Down," flips across into sublime Lynchian dream territory for "Hide Away," and arrives all too soon at the magnificent yearning final track "Hallway Waverider" itself. My only gripe is the absence of a lyric sheet, especially since from what I have seen the lyrics are entirely apt and a great addition.
"A road/Brings you forth/Levels up/Levels down/Back again/At square one/ Holding on/To Nothing."
"The sea/ You're riding in/ Will merge/ With the sky/ A slow/ Feeling calls/ You out/ Once again/ A low heaven/ Follows you/ Around/ Again."
Read More
