Electronic Sound Issue 43

Issue 43 of Electronic Sound is now available, and this month’s magazine & 7″ bundle includes exclusive tracks from the Radiophonic Workshop, the beneficiaries of a major in-depth feature this month.

For this issue I wrote a short introduction to the music of Ratgrave, whose jazz / hip-hop / electro / funk debut I mentioned in The Electricity Club interview, and who I expect I’m going to be banging on about for several months to come. Their self-titled album is released at the end of this month and it is a wild, untameable beast of a fusion record. I also interviewed Norwich’s Let’s Eat Grandma for this issue about their second album, which sees childhood friends Jenny Hollingworth and Rosa Walton taking their curiously idiosyncratic music in a squarely electronic pop direction, complete with analogue synths and production nous from Faris Badwan and SOPHIE. We also had a god natter about the merits of rich tea biscuits.

In the review section I covered Yeah Yeah Yeahs drummer Brian Chase‘s mesmerising Drums & Drones collection, three discs of processed percussion inspired by time spent at La Monte Young and Marian Zazeela’s Dream House; a hard-hitting gem of an album by 1i2c which I described as ‘therapeutic music for anxious robots’; the new album from 4AD’s Gang Gang Dance; another brilliant collaboration tape on the Front & Follow label by Jodie Lowther and ARC Soundtracks; the brilliant second album by Geniuser, one half of which is Mick Allen from The Models, Rema-Rema, MASS and The Wolfgang Press.

Finally, I reviewed albums by two projects by current members of WireColin Newman and Malka Spigel‘s second Immersion album since they reactivated the band in the last couple of years, and the third album from Wire guitarist Matthew Simms as Slows. Simms is a highly inventive musical polymath, as comfortable with a guitar in his hand as he is using analogue synths, found sound or pretty much anything he can lay his hands on. A Great Big Smile From Venus consists of two long tracks covering an incredible breadth of ideas, continually moving out in directions that are both unexpected and yet entirely expected when you’re familiar with Simms’s vision.

The review section also features Ben Murphy’s fantastically detailed review of the new Reed & Caroline album, Hello Science, released earlier this month on Vince Clarke‘s VeryRecords.

The magazine and 7″ bundle is available exclusively from the Electronic Sound website here.

(c) 2018 Mat Smith / Documentary Evidence for Electronic Sound

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Electronic Sound 36

Electronic Sound issue 36 is available to buy / order now, and features a comprehensive overview of David Bowie’s 70s forays into electronic music.

This month I wrote a short feature on up-and-coming Bristol electronic musician Henry Green and major feature on James Holden, whose album The Animal Spirits was far and away my favourite record of 2017. The interview took place in Holden’s studio near Turnham Green and found us talking about maths, spiritual jazz, the complexities of trying to add electronics to the music of Ornette Coleman, how to shrink a modular synth down to the size of a cabin bag, and the complex algorithms that explain duo playing. The result was one of my favourite interviews and consequently one of my favourite features to have written.

On the reviews front, this month I covered a reissue of Coil‘s Time Machines, the beautiful guitar processing of Martin Heyne‘s Electric Intervals, explorations of the fading AM radio spectrum by Conflux Coldwell, a lovely pairing of pianist Tom Rogerson with Brian Eno on Finding Shore, a scarily good release by Espectrostatic on the fine Burning Witches imprint and Null + Void‘s Cryosleep featuring Depeche Mode‘s Dave Gahan among other guest vocalists.

Electronic Sound can be purchased here.

(c) 2017 Mat Smith / Documentary Evidence

Documentary Evidence 2017 Top 10 Albums: 1. James Holden & The Animal Spirits ‘The Animal Spirits’

One album this year stood apart for me and it was this record by former progressive house DJ James Holden, an endeavour that the word ‘epic’ was presumably designed for.

Assembled by Holden as bandleader and with his own electronics as the backbone, The Animal Spirits was executed through improvisations that were faithful to the questing spirit of jazz, specifically the spiritual music crafted by the likes of Coltrane, Albert Ayler, Pharoah Sanders and Don Cherry, and the similarly transcendent cycles of Moroccan trance music.

Electronics should act as a inflexible handbrake on pure improv, or at least that’s what we’re meant to believe, but Holden isn’t a typical electronic musician – not only did he build his own hand baggage-sized modular synth, but he also wrote his own software that was integrated with his drummer’s playing to ensure that he could keep up with the rest of the band. The fact that Holden would go so far as to work with a renowned physicist on the theory behind how a duo of musicians impact one another through errors in their playing, and then figure out how to program that, and then make it fit into a band concept, underlines just how different Holden is. There is a vibrant electronic jazz fusion scene going on right now, spearheaded by Holden and his Border Community imprint, Floating Points and others, but The Animal Spirits still stands apart.

I interviewed James for Electronic Sound. The interview took place at his studio near Turnham Green, a compact space filled with modular kit where The Animal Spirits was realised in what must have been an intense series of sessions. Holden is an educated, softly spoken, thoughtful individual. You get the impression when speaking to Holden that he’s only devoting part of his brain to the conversation – not because he’s disinterested, as he was perhaps the most engaging interviewee I sat with this year, but because he’s partitioned off the rest of his brain to resolve some new, complex algorithm simultaneously.

I’m convinced that, in years to come, people will consider The Animal Spirits to be a pivotal electronic music album, one that freed up synths from the linear shackles of rigid sequencers; don’t wait for everyone else to catch up – enjoy it now. Listen to The Animal Spirits here.

Buy Electronic Sound at www.electronicsound.co.uk.

(c) 2017 Mat Smith / Documentary Evidence

Documentary Evidence 2017 Top 10 Albums: 5. Moon Hooch ‘Live At The Cathedral’

“The trio of Mike Wilbur, Wenzl McGowen and James Muschler may well have just written a whole new playbook for modern jazz.”
– Electronic Sound

It’s warm, sunny evening in July and I’m in a quiet little hotel near the Champs Elysées in Paris, with the loud and uncompromising sounds of New York trio Moon Hooch blasting out at neighbour-bothering volumes.

This was one of those albums that hit my inbox and initially went straight into the trash folder, only to resurface later when my editor at Electronic Sound put it on my list of things to cover that month. I felt like such an idiot for deleting it. Loved by luminaries like Iggy Pop and recorded here in the cavernous environs of the Cathedral of St. John The Divine in New York, Moon Hooch make an unholy punk-jazz racket that is entirely in the NYC tradition of James Chance & The Contortions. It’s bratty, electronically-augmented and wildly inventive, twisting New York’s venerable jazz legacy into incredibly creative new shapes.

Electronic Sound can be purchased at www.electronicsound.co.uk

(c) 2017 Mat Smith / Documentary Evidence

Documentary Evidence 2017 Top 10 Albums: 7. Floating Points ‘Reflections – Mojave Desert’

“Sam Shepherd seems set to become one of his generation’s musicians to watch, and a potential legend in the making.”
Electronic Sound

Floating Points‘s Elaenia was my favourite album of 2015 by far, and was responsible for me beginning to realise that fusing electronics with jazz wasn’t quite as naff as everyone had told me it was. Consequently I was ridiculously excited to get the chance to review Sam Shepherd’s latest album for Electronic Sound, an album where he had moved from solo artist to de facto band leader.

Reflections – Mojave Desert is a major progression on from Elaenia, where the addition of extra musicians has allowed Shepherd to more precisely express what he was clearly to do back in 2015 but couldn’t when his only tools were samples and electronics. To fully understand the exacting process Shepherd went through to create the five tracks on the album, an accompanying film showed the group performing and collecting sounds amid the breathtaking backdrop of the Joshua Tree National Park.

The result is an album full of finely-wrought atmospherics and complex arrangements that showcases Shepherd’s strong appreciation of jazz music history and his ability to push things in a thoroughly modern direction.

Listen to Reflections – Mojave Desert here.

Electronic Sound can be purchased at www.electronicsound.co.uk.

(c) 2017 Mat Smith / Documentary Evidence

Documentary Evidence 2017 Top 10 Albums: 10. BRZZVLL ‘Waiho’

“An album of genuinely memorable riffs on jazz’s essential spirit.”
Electronic Sound

I’ve had another year of getting to write about incredible music, and choosing my seasonal top ten albums this year was especially difficult.

To kick things off, I’ve selected BRZZVLL‘s stunning Waiho, the new album from a Belgian seven-piece group who take the infinitely flexible template of jazz and infuse that with everything from hip-hop to the edgy big-band funk espoused by Talking Heads when they’d more or less doubled their line-up.

I reviewed Waiho for Electronic Sound.

Listen to Waiho here.

Buy Electronic Sound at www.electronicsound.co.uk.

(c) 2017 Mat Smith / Documentary Evidence

Electronic Sound 35

Issue 35 of Electronic Sound has been out for a while, and this month features a major in-depth look at the work of much-missed German producer Conny Plank.

This issue features the last part of my feature on Alison Moyet, here focussing in on her influences. Such pieces are often really illuminating, particularly – as here – were they cover non-musical influences, and it was no different on this occasion. The interview was conducted in a bar in Chelsea back in May, and is the companion piece to a feature about Moyet’s latest album, Other.

My other major feature for this month was about the weird world of the Welcome To Night Vale podcast, something’s that been running for years but which totally passed me by. My interview with Jeffrey Cranor, co-author of the podcast, was definitely one of the most fun things I’ve done this year.

On the reviews front, I covered Gregg Kowalsky‘s ambient delight L’Orange, L’Orange, the very Night Vale-friendly strangeness of Snapped Ankles‘s Come Play The Trees, a reissue of an overlooked album by Twins Natalia, an absolutely fantastic electronic jazz crossover in the form of Brzzvll‘s Waiho, a more subtle jazz-with-synths hybrid in the form of Chet Doxas‘s Rich In Symbols, the fantastically raw No Luscious Life by Glasgow’s Golden Teacher, and a career-spanning piece on Simian Mobile Disco‘s ADSR reissue and Anthology collection.

My final contribution this month was among the most personally rewarding. For the magazine’s Buried Treasure section, I wrote a piece on Vic Twenty‘s Electrostalinist, an album which sadly seemed to pass everyone by when it was released in 2005. Vic Twenty was originally a duo of Adrian Morris and Angela Penhaligon (Piney Gir), they supported Erasure in 2003, and Mute‘s Daniel Miller set up a new independent label called Credible Sexy Units just to release one solitary single by the duo. Piney left to follow a successful solo career and Morris carried on alone. I drafted a review of the album for Documentary Evidence when it was released but never finished it, much to my regret, and so it was a pleasure to finally give Electrostalinist the coverage it deserved.

Electronic Sound can be purchaed at www.electronicsound.co.uk.

(c) 2017 Mat Smith / Documentary Evidence for Electronic Sound