Tricky feat. Alison Goldfrapp – Pumpkin (from Maxinquaye, 4th & Broadway album, 1995)

Back in the day, Alison Goldfrapp could occasionally be found adding her vocals to all sorts of tracks, the most prominent of which tended to be by Orbital and where, for no discernible reason, she went under the name ‘Auntie’. One of my favourite pre-Goldfrapp Alison Goldfrapp collaborations is this track with Massive Attack alumnus Tricky. I can’t fathom a word she’s saying since it has that jazzy wordless style that Orbital liked to deploy as a textural component of their tracks, but which is here presented as a foreground to this sluggish trip-hop piece. Her strange, Shirley Bassey-esque vocal is the perfect foil to a delivery from Tricky that rasps with a stoner’s ramblings. In the background, the samples run from folksy ethereality (something Goldfrapp would investigate years later with Seventh Tree) and a scratchy grunge passage not dissimilar to Butch Vig’s mix of Depeche Mode’s ‘In Your Room’. It might not be patch on other tracks on Maxinquaye, but it all adds to the quiet confidence exuded by Tricky on his first solo record.

Elsewhere on the album, occasional Mute producer and Rhythm King stalwart Mark Saunders adds his production nous to most of the tracks here, including the seminal, much-quoted ‘Brand New You’re Retro’.

(c) 2017 Mat Smith / Documentary Evidence

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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: 1. onDeadWaves ‘On Dead Waves’

“Posesses a stripped-back, nascent, haunted bluesy quality, which is both arresting and intriguing by equal measure.” – Clash

I would love to say that identifying my favourite album of 2016 was a trial so painful I almost gave up the whole notion of doing this, but that would be a complete lie. I always knew this one would be it, pretty much from the moment I heard it.

onDeadWaves is a powerful collaboration between Mute stalwarts Polly Scattergood and James ‘Maps’ Chapman. They first performed together at the Short Circuit festival back in 2011 and finally put this album together for release this year. As I noted in my review for Clash, the concept of two singers coming together when their lyrics are usually so uniformly downbeat is, at least on paper, a terrifying prospect. But it’s not like that in reality.

This is an album that is borderline profound, completely moving and inventive at every turn, full of mesmerising fragility and cavernous emotional depth, daubed with an oblique Americana; an album that makes you appreciate music slightly differently after its played with your emotions so effortlessly; a music delivered with an intimacy that feels like eavesdropping on private musings.

My review for Clash can be found here.

(c) 2016 Mat Smith / Documentary Evidence

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

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“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’

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“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

Documentary Evidence 2016 Top 10 Albums: 4. Reed & Caroline ‘Buchla & Singing’ // Erasure ‘From Moscow To Mars’

I felt a little conflicted about including these two on my list, for reasons which I will attempt somewhat clumsily to explain. I then reasoned that this is my list, I’m kind of really proud of what I’ve done to support both these releases, and so on the list they shall remain. I’ve also linked them together for the purposes of convenience.

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“It might have the look and feel of a futuristic tombstone, but From Moscow To Mars, as its title from the oft-forgotten single ‘Star’ indicates, represents a thirty year journey – a journey that the duo are very firmly still on with a new album in the works and plenty more rocket fuel left in the tanks.” – This Is Not Retro

“What emerges here is a distinct sense of loyalty – from Vince Clarke and Andy Bell to one another, and to the enduring art of writing emotional pop music.” – Electronic Sound

First up, the mammoth and some would definitely argue long overdue Erasure box. This was finally released in December after production delays and I reviewed this – atypically for me – for two places: Electronic Sound and then a slightly more personal piece for This Is Not Retro. I am, and forever will be, a massive Erasure fan first and foremost, so my ability to be objective about From Moscow To Mars is one possible conflict of interest. Personally, I think I pulled it off, but you can judge for yourself. The review for This Is Not Retro can be found here. Back issues of Electronic Sound are over at www.electronicsound.co.uk

The second reason for feeling slightly conflicted came in November when I found myself in Birmingham as a guest of the Erasure fan club at the official launch party for the boxset. I was there nominally as a guest but found myself helping out in a couple of ways – blowing up some very sorry balloons (I apologise to anyone who attended and laughed at those) while listening to Vince Clarke and Andy Bell soundcheck their set (including a new song) and then helping out with three hours of meet and greets. It was a special, and slightly surreal experience.

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Second, Buchla & Singing by Reed & Caroline, a charming album of compositions for the Buchla by Reed Hays with beautiful singing by Caroline Schutz. The album was released on Vince Clarke’s Very Records back in October to universal acclaim. I didn’t get to review this one, but trust me, had I done so I would have called it out as very special indeed.

I wrote the press release for Very Records for this album and enjoyed a very pleasant Skype chat with Hays in order to prepare that. Of all the things I have done this year, getting handed that job and helping support the release of Buchla & Singing – in a way somewhat different from just scribing a review – was right up there as a major career highlight, and I’m eternally grateful for the opportunity.

One of the best tracks on the album is ‘Henry The Worm’. Reed and I spoke about that track at length but I just couldn’t find a way of fitting it into the press release, so here is that little off-cut. I thought it was a nice story. Music sometimes needs to take itself less seriously.

“Around the time my son was born, I wrote a song that’s on the record called ‘Henry The Worm’,” explained Reed. “We named Henry, my son, after a little caterpillar that was crawling around a Mexican restaurant. When we saw the first sonogram I thought he looked like a little caterpillar.”

(c) 2016 Mat Smith / Documentary Evidence

Documentary Evidence 2016 Top 10 Albums: 5. Savoir Adore ‘The Love That Remains’

“The best thing to come out of Brooklyn since the last thing.” – Electronic Sound

This one snuck in right at the very end of the year, and caught me totally unawares. I’ve become accustomed, like most people have, to great music coming flooding out of Brooklyn, but Savoir Adore‘s new album was something else. The album was released earlier in the year in the US but only got its UK release in December.

The best reference point I have for this synth-heavy opus – which its creator Paul Hammer explains was influenced by the dominant romantic input to Fado music, the elusive concept of saudade – would probably be Bleachers’ debut LP. Except that where Bleachers seemed to really have to work hard at writing big choruses and infectious synth melodies, Hammer and Savoir Adore never sound like they’re having to try too hard. This gives The Love That Remains a certain polish and sheen that far bigger productions would die for, without ever once sounding completely like a chart pop album.

My review of this will appear in the next issue of Electronic Sound.

(c) 2016 Mat Smith / Documentary Evidence