Electronic Sound Issue 50

The new issue of Electronic Sound is now available, and this one is rather special. Initially available as a bundle with an exclusive Karl Bartos 7-inch (now sold out), this month’s magazine marks Electronic Sound‘s 50th issue.

Pulling off a specialist print title at a time where most people seem to think the future is digital paper is no mean feat. Indeed, Electronic Sound started life as an iPad-only magazine before realising that there was a gap for a beautifully-executed, smartly designed item created by an editorial team with intense passion and specialist knowledge of the subject matter the magazine covers. If it seems vaguely oxymoronic that a magazine celebrating music made with technology should find its niche as a resolutely analogue offering is because it is, and it’s all the better for it.

I joined the writing team for Electronic Sound in 2014 with a review of Apt’s Energy, Light & Darkness, back when the magazine was still a digital title. That I wrote this review at all is entirely down to the magazine taking a chance on me when I approached them, and that chance arose simply because another writer had let them down that week; that left them with a gap that needed to be filled at short notice, and they trusted me with the job, for which I am unendingly grateful. I figured it was a one-off, but I have written for them ever since. It is both a pleasure and honour to do so every month, and to play a small part in this wonderful magazine’s success and it’s broad minded approach to electronic music and the many stories that deserve to be told.

For this month’s magazine, I wrote a feature on Mattel’s weird 1970s home keyboard, the fabled Optigan, an instrument using optical discs that was meant to usurp the humble organ but didn’t.

The impetus for this piece arose through my good friend Reed Hays, who used the Optigan’s cousin, the Orchestron, on last year’s Reed & Caroline album Hello Science. Reed introduced me to his friend Pea Hicks – the foremost expert on the strange birth, life, death and resurrection of the Optigan – and his band Optiganally Yours, whose amazing O.Y. In Hi-Fi I reviewed for Electronic Sound. My editor figured that this was another one of those stories that needed to be told, and I was deemed the writer for the task.

I can’t hope to tell the story as well as Pea can (and does), and I am forever indebted to him his help in putting the piece together. The piece involved contributions from original 1970s Optigan user Alan Steward, former Genesis guitarist Steve Hackett, Tom Waits producer Tchad Blake and Sparklehorse collaborator and Nadine Khouri producer Al Weatherhead, each of whom have been drawn to the instrument’s curious and unpredictable charms over the years.

Elsewhere, I reviewed the fifth volume of Front & Follow’s Blow series, with a remarkable piece of mechanical music by Dunning & Underwood and their Mammoth Beat Organ; the return of Bill Leeb’s Frontline Assembly with Wake Up The Coma; Simon James‘s Musicity 003 Shenzhen / Shanghai cassette of Buchla and field recordings; Blood Music‘s inventive and dextrous GPS Poetics.

I rounded out my contributions with a review of Fond Reflections, a long-overdue compilation of unheard material by Rema-Rema on the 4AD label. The label’s founder Ivo Watts-Russell has oft said that it was the solitary Rema-Rema release, 1980’s Wheel In The Roses EP, that set the benchmark for his label, despite the band already having split by the time the 12-inch was released. The album is released on 1 March and I will be hosting a special Q&A with members Gary Asquith, Michael Allen and Dorothy ‘Max’ Prior at Rough Trade West on the evening of its release.

Buy Electronic Sound 50 here.

(c) 2019 Mat Smith / Documentary Evidence for Electronic Sound

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Electronic Sound Issue 50

The new issue of Electronic Sound is now available, and this one is rather special. Initially available as a bundle with an exclusive Karl Bartos 7-inch (now sold out), this month’s magazine marks Electronic Sound‘s 50th issue.

Pulling off a specialist print title at a time where most people seem to think the future is digital paper is no mean feat. Indeed, Electronic Sound started life as an iPad-only magazine before realising that there was a gap for a beautifully-executed, smartly designed item created by an editorial team with intense passion and specialist knowledge of the subject matter the magazine covers. If it seems vaguely oxymoronic that a magazine celebrating music made with technology should find its niche as a resolutely analogue offering is because it is, and it’s all the better for it.

I joined the writing team for Electronic Sound in 2014 with a review of Apt’s Energy, Light & Darkness, back when the magazine was still a digital title. That I wrote this review at all is entirely down to the magazine taking a chance on me when I approached them, and that chance arose simply because another writer had let them down that week; that left them with a gap that needed to be filled at short notice, and they trusted me with the job, for which I am unendingly grateful. I figured it was a one-off, but I have written for them ever since. It is both a pleasure and honour to do so every month, and to play a small part in this wonderful magazine’s success and it’s broad minded approach to electronic music and the many stories that deserve to be told.

For this month’s magazine, I wrote a feature on Mattel’s weird 1970s home keyboard, the fabled Optigan, an instrument using optical discs that was meant to usurp the humble organ but didn’t.

The impetus for this piece arose through my good friend Reed Hays, who used the Optigan’s cousin, the Orchestron, on last year’s Reed & Caroline album Hello Science. Reed introduced me to his friend Pea Hicks – the foremost expert on the strange birth, life, death and resurrection of the Optigan – and his band Optiganally Yours, whose amazing O.Y. In Hi-Fi I reviewed for Electronic Sound. My editor figured that this was another one of those stories that needed to be told, and I was deemed the writer for the task.

I can’t hope to tell the story as well as Pea can (and does), and I am forever indebted to him his help in putting the piece together. The piece involved contributions from original 1970s Optigan user Alan Steward, former Genesis guitarist Steve Hackett, Tom Waits producer Tchad Blake and Sparklehorse collaborator and Nadine Khouri producer Al Weatherhead, each of whom have been drawn to the instrument’s curious and unpredictable charms over the years.

Elsewhere, I reviewed the fifth volume of Front & Follow’s Blow series, with a remarkable piece of mechanical music by Dunning & Underwood and their Mammoth Beat Organ; the return of Bill Leeb’s Frontline Assembly with Wake Up The Coma; Simon James‘s Musicity 003 Shenzhen / Shanghai cassette of Buchla and field recordings; Blood Music‘s inventive and dextrous GPS Poetics.

I rounded out my contributions with a review of Fond Reflections, a long-overdue compilation of unheard material by Rema-Rema on the 4AD label. The label’s founder Ivo Watts-Russell has oft said that it was the solitary Rema-Rema release, 1980’s Wheel In The Roses EP, that set the benchmark for his label, despite the band already having split by the time the 12-inch was released. The album is released on 1 March and I will be hosting a special Q&A with members Gary Asquith, Michael Allen and Dorothy ‘Max’ Prior at Rough Trade West on the evening of its release.

Buy Electronic Sound 50 here.

(c) 2019 Mat Smith / Documentary Evidence for Electronic Sound

Electronic Sound Issue 47

Electronic Sound issue 47 is now available, featuring a very special in-depth look at Wendy Carlos’s work for Stanley Kubrick’s still-disturbing film of Anthony Burgess’s A Clockwork Orange. This month’s musical accompaniment is a CD featuring exclusive ‘responses’ to Carlos’s soundtrack from a whole bunch of electronic music luminaries, including Chris Carter (who worked on the movie as sound assistant), Factory Floor‘s Gabe Gurnsey, Sink Ya Teeth and Jack Dangers. There’s also a nice chat with Barry Adamson, who Sink Ya Teeth recently supported for his October shows in Manchester and London.

This month I contributed an Introducing piece on violinist Jessica Moss, whose new electronically-augmented work Entanglement is both modishly minimalist and refreshingly maximalist. I also reviewed new albums by SAD MAN, whose ROM-COM is his eleventh release in the past year full of eclectic gestures; Demolition by Brooklynite Robert Toher under his Public Memory alias which has all the murkiness of classic Depeche Mode filtered through trip-hop nous; Defiance + Entropy by FORM, a collaboration between Rob Dust, Shelter‘s Mark Bebb and Depeche tribute act Speak & Spell‘s Keith Trigwell; and Where Moth And Rust Consume by Sone Institute on the consistently excellent Front & Follow.

My favourite album this month was the wonderful sax and synths of Frank Paul Schubert and Isambard Khroustaliov with their hypothetical muzak for “the restaurant at the end of the universe”, a hastily-recorded improvised record full of noise and compelling coarseness. Listen to the stellar ‘Maconte, The Cross-Eyed Agony Aunt’ from That Would Have Been Decent at Bandcamp below.

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

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

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

Audio Journal 03/07/2014: Front & Follow

Audio Journal logo

Front & Follow are a Manchester-based label who I hadn’t noticed until Clash asked me to review Blind Mouths Eat by The Doomed Bird Of Providence earlier this year. That album really impressed me, even though I initially labelled it a concept album.

The Doomed Bird Of Providence are an Australian group presently based in my old residence of Colchester, and for Blind Mouths Eat the focus of their attention was on a devastating 19th century storm known as Cyclone Mahina. For me, Doomed Bird tapped into the same strand of folk and blues that bands like The Bad Seeds, The Triffids and Crime & The City Solution all made their own during their careers, and I happily gave the album 8/10. I described it as ‘a haunting exploration of hopelessness and violence’.

Blind Mouths Eat, in turn, begat To Mahina, an EP by fellow Front & Follow artist Kemper Norton. If Cyclone Mahina inspired Doomed Bird’s album, the album about the storm inspired Kemper Norton. The response is an EP that takes the mysterious fatalism of the original album and uses that feeling as the basis for a collection of electronic explorations that possess a natural dimension infused with a sort of sea shanty quality. This is all about texture, whereas Doomed Bird’s album was primarily about the narrative; To Mahina lies somewhere between a calm millpond and the terrifying stillness that returns after the devastation, making this an imaginative and captivating release.

Kemper Norton 'To Mahina' artwork

If Kemper Norton is mysterious, Pye Corner Audio are downright mythical. Their WordPress site proclaims them to have been active since the Seventies, but in what capacity it doesn’t say, raising eyebrows and leading the listener to ponder whether this isn’t some fanciful aspiration to create a history where one simply doesn’t exist.

Irrespective, Pye Corner Audio produce brilliant electronic music that has its head firmly placed in the world of analogue synthesis, back at a point where you were more likely to wear a suit and a lab coat to the studio, those early synths being akin to giant science experiments than real instruments. The new Pye Corner Audio 12″ for Front & Follow, The Black Mist EP, takes rich pulses, percussion and melodic sounds and infuses them with a chunky beat that sounds like it was borrowed from the Chemical Brothers’ early works. Towering washes of sculpted synth pads wash in like waves and buzzing drones have the distorted quality of punk guitars. Like the longform explorations of, say, Node, ‘The Black Mist’ has that mesmerising quality that I will use as evidence that electronic music has an inner human quality whenever detractors try to tell me otherwise.

Pye Corner Audio 'The Black Mist' artwork

The B-side features a remix of ‘The Black Mist’ and the detuned Plaid-esque deep ambient electro of ‘Bulk Erase’. Here is a track that could easily be a minimal, slowly-shifting exploration of rhythm and pulse, but Pye Corner Audio aren’t afraid of co-opting classical melodic sensibilities and that’s the case here with an arresting, emotive filmic passage that sounds like it’s begging for use by an independent director.

Front & Follow releases can be found here.

Thanks to Justin.

(c) 2014 Mat Smith / Documentary Evidence