Documentary Evidence 2017 Top 10 Albums: 2. Erasure ‘World Be Gone’ + Alka ‘The Colour Of Terrible Crystal’

“Effortless electronic majesty.”
– Electronic Sound

The release of a new Erasure album is always an emotional experience for me, but that’s what happens when you’ve been a fan for so long (nearly 30 years) and when everything else you’ve ever listened to can, on some level, be connected back to them.

However, even without that context – some might say bias – World Be Gone stands out. It’s the type of mature, bold pop that you’d want a duo like Andy Bell and Vince Clarke to make after this long in the business. It’s an album tinged with despair and disappointment at a world that seems to have turned backwards toward a more hateful, vengeful and intolerant version of itself; one that is occasionally hopeful but one that feels like all hope is gone.

None of this was a surprise to me when I heard World Be Gone for the first time, but some people commented to me that they thought the earlier demos for the songs would have been much faster and more uplifting rather than, as presented on the LP, slower and more thoughful affairs. That wasn’t the case – these songs were always intended to be thus, and World Be Gone is all the more coherent for it.

I reviewed the album for Electronic Sound, and I recall that the copy was all written during a flight to Miami with my family. A few days later I was told that a quote from the review would be used on posters to promote the album. I mentioned that to Vince Clarke just after the posters went up on the London Underground, and he refused to believe that there would be posters supporting the record at all. He also refused to let me show him the proof. Here it is (thanks Richard Evans).

Listen to World Be Gone here.

Buy Electronic Sound at www.electronicsound.co.uk.

I continued my work with Vince’s VeryRecords by writing the supporting press materials for Alka‘s The Colour Of Terrible Crystal album. This is truly a work of electronic genius by Bryan Michael and if you haven’t heard it yet, you should.

Given my involvement, albeit behind the scenes, I felt slightly conflicted putting it into my top ten, so I’ve grouped it in here with Erasure because Vince is the common denominator to both.

Listen to The Colour Of Terrible Crystal here. Buy it from VeryRecords here.

(c) 2017 Mat Smith / Documentary Evidence

Advertisements

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

Depeche Mode – The O2 Arena, London 22.11.2017 – photos by Andy Sturmey

810_0071810_0224810_0228810_0229810_0242810_0272810_0280810_0392810_0498810_0507810_0510810_0513810_0514810_0562810_9922810_9927810_9941810_9966DSC_5450DSC_5477

(c) 2017 Andy Sturmey for Documentary Evidence & This Is Not Retro

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

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

Jono Podmore – Jaki Liebezeit: Life, Theory And Practice Of A Master Drummer (book, 2017)

Jaki Liebezeit, photo courtesy of Jono Podmore

Metamono‘s Jono Podmore (aka Kumo) has arguably done more than anyone else in recent years to keep the legacy of Can alive, whether in groups like Cyclopean with Can members Jaki Liebezeit and Irmin Schmidt, or remastering the Can back catalogue and sundry unreleased cuts with Holger Czukay and long-standing Can supporter Daniel Miller.

To those initiatives can be added a new book that Podmore has assembled with US music journalist John Payne, Jaki Liebezeit: Life, Theory & Practice Of A Master Drummer, which seeks to document the unique approach practiced by Can’s late drummer, who passed away in January of this year. The book is currently subject to a crowdfunding campaign via Unbound which can be found here.

I wrote a news piece for Clash which explains more about the book and which can be found here.

In the process of putting my news piece together I asked Podmore for his recollections of working with Liebezeit, and that insight can be found in the Clash piece. “While we were having dinner one night, I was putting on some music,” Podmore also recalled. “At one point I put on some Charles Mingus. Without looking up, Jaki said, with a mixture of confusion and disgust, ‘Jazz? Been there. Done that.’ With that in mind I asked him if there were any other drummers that interested him. ‘Yes,’ he said. ‘808 and 909.'”

(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