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

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Electronic Sound 34

Issue 34 of Electronic Sound is now available. Focussing in on the world of soundtracks to coincide with the release of Blade Runner 2049, the latest issue includes an exclusive 7″ containing extracts from Louis and Bebe Barron’s genre-defining soundtrack to the sci-fi landmark Forbidden Planet.

My major contribution to the latest issue was an interview with Clint Mansell. Mansell was formerly a member of Pop Will Eat Itself, a band I got into in the mid-90s thanks to a friend at the after-school office jobs we both had, whereupon he plied me with each and every one of their releases up to that point. So smitten by PWEI was I that I did that very 90s thing of buying a t-shirt to show my allegiance, a lovely navy blue Designers Republic thing containing the cartoon band mascot. I was wearing that t-shirt the day I started university, which attracted the attention of another freshman who recognised the logo; we’ve been lifelong friends ever since.

This is a longwinded way of saying that Mansell’s music really matters to me, and so getting the chance to speak to him was a real privilege. Mansell’s inclusion in the Electronic Sound soundtrack issue arises because of his post-PWEI work as a composer for the films of Darren Aronofsky and Duncan Jones’s, developing scores for the harrowing Requiem For A Dream, Moon and the upcoming Mute. And speaking of Mute, which I often do of course, Mansell is pictured in a Mute ‘walking man’ logo in the photos accompanying my feature, and this issue includes a new interview with Mute founder Daniel Miller.

Elsewhere in this issue I wrote a short piece introducing the work of Lithuanian electronic producer Brokenchord, whose new album Endless Transmission is a robust, trip-hop embracing work of great weight. I also wrote short reviews of albums by livesampled piano duo Grandbrothers, the sexually-charged Blade Runner-inspired debut album from Parisian François X, a slinky 80s-inspired R&B album by Submerse, a thoughtful new LP from Aris Kindt and a grainy industrial / minimal release by Vanity Productions issued through Posh Isolation, one of my favourite small labels. To round the issue out, I reviewed the Front & Follow label’s fantastic ten year anniversary compilation Lessons, and surveyed the varied career of Auteurs founder Luke Haines through a new 4-disc box set. Having written the press release and an interview to support the release of Alka‘s The Colour Of Terrible Crystal on Vince Clarke‘s Very Records, it was pleasing to see the album get a deservedly positive review in the latest issue.

You can pick up a copy of the new issue at www.electronicsound.co.uk

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

Electronic Sound 33

Issue 33 of Electronic Sound is now available, complete with an extensive cover feature on Gary Numan and an interview with the inimitable Sparks. The special print edition with 7″ includes a two-part Meat Beat Manifesto remix of Gary Numan’s ‘My Name Is Ruin’.

I wrote two features for this issue. The first was an interview with Sanaya ‘Sandunes’ Ardeshir about her Different Trains 1947 live collaboration with Liverpool’s METAL, Jack Barnett from These New Puritans and Darren ‘Actress’ Cunningham; Different Trains 1947 takes Steve Reich’s 1988 composition Different Trains but changes its context from being about American and European train journeys during World War II to being about the thorny topic of Indian independence and partition from Pakistan. You can catch Different Trains 1947 at the Barbican in London on 1st October.

The second feature was an interview with Graham Sutton about his band Bark Psychosis and their landmark post-rock album Hex. I love features like this and the Different Trains piece above, mostly because they cover topic areas I knew very little about before picking up the phone to speak to both Ardeshir and Sutton. Bark Psychosis were a band I was aware of from reading The Wire in the 1990s but who had never quite made it from my Long List – of bands I’ve read about, know I must listen to, but never have – to the Short List. The objective of the Bark Psychosis feature was to lift the lid on a band and tell its story, which I humbly think we did rather well.

Elsewhere in issue 33, you’ll find my reviews of new albums from Mary Epworth, Mute alumnus Zola Jesus, a remix compilation on Sheffield’s wonderful CPU imprint, Khalil and a lovely new record from Jaws Of Love, the solo debut of Kelcey Ayer from Local Natives.

Electronic Sound can be ordered here.

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

Electronic Sound – Issue 30 – Kraftwerk / Alison Moyet

Issue 30 of Electronic Sound has hit the newstands with everyone’s favourite Düsseldorf electronic pioneers (and onetime Mute act) Kraftwerk gracing the cover and the subject of a major feature to coincide with their UK tour. The special edition version of the magazine includes a 7″ with Orbital covering ‘Numbers’ from Computer World, backed with a new track from Der Plan.

This month I had the pleasure of interviewing Alison Moyet over drinks in Chelsea about her sensational new album Other, her second collaboration with multi-instrumentalist producer Guy Sigsworth. I also wrote pieces on clever techno producer Daniel Ruane, electronic legend Ragnar Grippe, IX Tab, the wonderfully-named Deathcount In Silicon Valley, ex-Coil / Psychic TV member Drew McDowall and the latest album from Ghostly Records Brooklynites Xeno & Oaklander.

Rounding out all of that, I wrote a long review of the second Floating Points album; Sam Shepherd’s first album, 2015’s Elaenia was my favourite album of that year and Shepherd has somehow managed to sidestep the typical difficult-second-album issues with a thrilling electronically-inflected jazz rock epic influenced by the environs in which it was recorded, the mysterious Joshua Tree National Park.

A big congratulations to the team at Electronic Sound who just completed an extremely successful funding round on Crowdcube.

The special edition issue of the issue 30 can be purchased here.

(c) 2017 Mat Smith / Documentary Evidence

Electronic Sound – Issue 29 – New Order / Erasure

The latest issue of Electronic Sound includes a major new interview with New Order ahead of their new live album for Mute, NOMC15. The magazine has also landed a major coup by bundling an exclusive clear vinyl 7″ with special copies of the new issue which includes a previously-unreleased remix of New Order’s ‘Academic’.

I contributed a handful of reviews to the latest issue covering the eclectic fields of pop, electronic jazz, electronic grunge and cinematic soundtrack-friendly material in the form of write-ups of new releases by Slackk, Stuff, The Mark Lanegan Band, Kilchhofer / Hainbach and Erasure. I was proud to achieve another career first this month when a quote from my Erasure review made it to the posters promoting their new album World Be Gone across London’s Underground network.

To buy the special New Order edition of issue 29 of Electronic Sound, head here.

(c) 2017 Mat Smith / Documentary Evidence

Documentary Evidence 2016 Top 10 Albums: 2. NZCA Lines ‘Infinite Summer’

Basic RGB

“An album chock-full of juxtapositions and deft emotional manipulations, held effortlessly together by Michael Lovett’s soulboy vocals.” – Electronic Sound

NZCA Lines were another band that I fell in love with as soon as I heard their new LP this year, and totally kicked myself for not having heard of them until the occasion of their second album, Infinite Summer. Michael Lovett, the brains behind NZCA Lines, has appeared on Metronomy’s albums and helped Christine & The Queens on the outstanding Chaleur Humaine. His is a prodigious talent, effortlessly creating addictive pop music with the same artsiness that made Chaleur Humaine a great example of the thinking listener’s electronica.

I wrote about NZCA Lines for Electronic Sound. Back issues of Electronic Sound can be found at www.electronicsound.co.uk.

(c) 2016 Mat Smith / Documentary Evidence

Documentary Evidence 2016 Top 10 Albums: 3. LNZNDRF ‘LNZNDRF’

lnzndrf

“In thrall to the methods of Can, if not their actual sound.” – Electronic Sound

I heralded the trio of Scott and Bryan Devendorf (from The National) and Bryan Lanz (from Beirut) as my new favourite band upon the release of their self-titled album for 4AD earlier this year. It would the first of three such occasions where I made that claim.

This was a frighteningly inventive LP, formed out of the same sort of long-form improvised jams that Can used nearly fifty years before in the creation of their seminal early records, only then treated and manipulated to take on a relatively ‘composed’ form. The output was a sort of Krautrock / electronic hybrid whose details reveal themselves over repeated listens.

I reviewed the album for Electronic Sound and interviewed Scott Devendorf for Clash. Back issues of Electronic Sound are available at http://www.electronicsound.co.uk while my interview can be read here.

(c) 2016 Mat Smith / Documentary Evidence