RAC – Ego (Counter Records, 2017)

“Pop music really shouldn’t be this clever.” — Clash review, July 2017

André Allen Anjos, aka RAC, is set to release his second album of smart pop songs with a revolving cast of singers later this week via Ninja Tune’s Counter subsidiary.

I reviewed the album for Clash. You can read my review here. Suffice to say that I don’t think I’ve heard a pop album by a modern act this good for a long, long time.

(c) 2017 Mat Smith / Documentary Evidence for Clash

Toro y Moi – Boo Boo (Carpark Records album, 2017)

Boo Boo feels like what we might call a coming-of-age album, the theme of which is that, despite all our best endeavours, life isn’t always perfect.

I reviewed the very fine new Toro y Moi for Clash. My review can be found here

(c) 2017 Mat Smith / Documentary Evidence for Clash

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

Fader – First Light (Blanc Check Records album, 2017)

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Fader is a duo of Blancmange’s Neil Arthur – whose collaboration with Mute stalwarts Fortran 5 on ‘Persian Blues’ remains, in my humble opinion, an overlooked classic – and Benge from John Foxx & The Maths.

First Light is their first album and is released by Blanc Check next week. Here you’ll find Arthur at his elliptical best, backed by some varied and truly ingenious electronic backdrops.

I reviewed the album for This Is Not Reto. My thoughts can be read here.

(c) 2017 Mat Smith / Documentary Evidence for This Is Not Retro

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

Rupert Lally / Espen J. Jörgensen – Øde (No Studio album, 2017)


The work of Rupert Lally and Espen J. Jörgensen is a lot like a tabloid-friendly romance. The duo have consciously uncoupled more than once, only to reform again each time. There’s no animosity, no conflict, just a compulsion to continue pushing out albums and to keep collaborating whenever they feel like it, typically followed by mutterings that each will be their last project together.

The result of this on-off-on again approach is a series of interconnected albums where the only connection is a firm willingness to do whatever feels right at that particular time. The pair have traded in ambient soundscapes, touched on pop and even mucked around with guitars. From a distance, being so outwardly inconsistent in terms of style could be decried as an incoherent vanity or therapy project never intended to be heard outside of the duo themselves; the reality is instead a rich seam of new ideas and new approaches, largely arising as a result of never physically working together in the same place as one another.

The 25-track Øde’s precedent lies in Lally’s last two solo albums, Day One and Scenes From A High Rise, both of which made heavy use of modular synthesis in their rich sound design, and both of which found Lally’s music taking on a somewhat uncharacteristically dark hue. Øde pushes that darkness to an extreme, the result being a nervous, edgy, tense affair full of cloying atmospheres and a panic-inducing analogue buzz about the sequences.

It would be tempting to view Øde as being a sonic representation of the parlous state of the world right now. Lots of such albums have begun to emerge as musicians variously attempt to direct their anger and resentment through their music; being mostly instrumental, Øde can’t rely on lyrical gestures to make its point. Instead, the album does a commendable job of encapsulating what it feels like to be living through all of this: the feeling that there’s something in the air, something restless, something not quite right that could develop into something far worse if not kept in check. Not for nothing does the album open with a tone-setting piece of sound design – echoes, muffled feedback, a tired voice – called ‘Getting Darker’.

While a lot of Øde relies on modular synth work, the album’s construction from lots of short pieces allows for a multitude of brief ideas to flourish, ranging from orchestral arrangements to wonky hip-hop, filled out by glitchy static and borrowed atmospheres. The pair have always traded voraciously in the markets of eclecticism, but never quite so liberally as they do here. No idea is allowed to develop into repetition, and yet each idea is developed just enough to avoid feeling like a collection of unfinished sketches. The approach feels highly democratic, as if each idea is afforded equal airtime in the album’s debate with itself.

Whether this represents another final album among final albums remains to be seen. If it is, Lally and Jörgensen may have just delivered their definitive statement; if not, what you are listening to here is surely part one of the soundtrack to the end of the world, as realised by its self-appointed resident composers.

Øde is released via Bandcamp – rupertandespen.com

(c) Mat Smith / Documentary Evidence

People Are People – The Politics Of Depeche Mode (Clash feature, 2017)

“If ‘Where’s The RevolutIon?’ is any sort of bellwether of what Spirit will sound like, it suggests that Depeche Mode are ready to stop dealing in vagueness, the cryptic and the shrouded, and instead feel inclined to go for a more direct approach to the message they’re trying to get across.”

Clash, 2017

Ahead of the release of the new Depeche Mode album Spirit, I wrote a feature for Clash that explores the political messages within first single ‘Where’s The Revolution?’.

As a rule, I try to steer clear of politics if I can help it, but in the last twelve months that’s been pretty hard to do. And rightly so; to say we live in interesting times is a huge understatenent, and if there’s ever been a time to take notice of politics, amid the chaos and uncertainty in the wake of the votes against the status quo represented by Brexit and Donald Trump, now is most definitely that time.

Even so, this was a piece that I felt ill-equipped to write, until I got started. The piece was written in the second week of a fortnight spent working in the US, initially on the East Coast, then in the Mid-West, then from the East Coast ahead of returning to the UK, and maybe a sense of proximity to what’s going on over there allowed the piece to come together slightly easier. That and taking the opportunity to trawl back through the entire Depeche Mode catalogue in a bid to see whether the political dimension the band were showcasing with new single ‘Where’s The Revolution?’ was really that new after all.

My feature for Clash can be found here.

(c) 2017 Mat Smith / Documentary Evidence for Clash