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 Issue 19

  
Issue 19 of Electronic Sound is available now, either at electroni sound.co.uk or the iTunes App Store. Appropriately, this issue focuses on the electronic legacy of the sorely-missed David Bowie.

I interviewed Colin Newman and Malka Spigel (aka Immersion) for this issue on the occasion of the duo dusting off their electronic project for the first time since performing at the Royal Festival Hall for Wire‘s spectacularly artsy comeback in 2000. I was there that night, as you can probably tell from my interview. Elsewhere in this issue, I wrote a short piece about a thrilling band called HÆLOS, and reviewed albums by The Choir Of Young Believers, Public Memory and my new favourite band LNZNDRF.

(c) Mat Smith / Documentary Evidence

Immersion – Analogue Creatures (Swim~ single, 2016)

  
‘Analogue Creatures’ is the first material by ImmersionMalka Spigel from Minimal Compact and Colin Newman from Wire – since a fabled performance at London’s Royal Festival Hall in 2000 which marked the reformation of Newman’s group. The next decade and a half would see Swim~, the electronica label that Spigel and Newman had established, put on the backburner while the duo variously worked on the resurgence of Wire, live shows by Minimal Compact and the Githead group they formed with Robin ‘Scanner’ Rimbaud and Minimal Compact’s Max Franken.

Named for the organic quality of the synths deployed rather than suggesting that this new 10” EP is a product of the analogue renaissance that gets Big Bang Theory-esque synth nerds all hot under the collar, ‘Analogue Creatures’ is at once deeply ambient, while simultaneously Krautrock in its dimensions. ‘Always The Sea’ and ‘Shapeshifters’ blend together choppy guitar lines with slowly ebbing and flowing synth backdrops, it often being unclear when the synths stop and the guitars start. Despite the absence of any discernible rhythm, there is nevertheless a pulse – of sorts – running throughout the record, evoking the chugging motorik grove that characterised much of Krautrock; Newman sees ‘Analogue Creatures’ as being in the territory of a ‘beatless Neu!’ and it’s easy to see why he’d come to that conclusion.

The EP pivots on the track ‘Organic Cities’. That track saw the duo collaborating with local Brighton synth geek Guy Schneerson, and the track demonstrates a more harmonically full suite of arpeggios, plucked guitar lines and evocative texture. It sits somewhere between the churning linear lines of a Githead melody and a previously-unheard outtake from Vangelis’s Bladerunner soundtrack.

‘Analogue Creatures’ is a slick return to the drifting, expansive electronica that occupied Spigel and Newman in the Nineties, but it’s also yet another evolution of this stop-start-stop collaboration. It doesn’t necessary signal a return to the prominence that the duo gave Immersion in the formative Swim~ days, but despite a long period of absence during which they focussed on the classic guitar-bass-drums formation, the pair are showing that they’re every bit as intrigued by synth music as they ever were.

A full interview I held with Malka Spigel and Colin Newman about the new Immersion record will appear in the next issue of Electronic Sound. Electronic Sound is available at the App Store or electronicsound.co.uk.

(c) 2016 Mat Smith / Documentary Evidence