ETC June 2024
Biggest edition ever: all the music you need for the first summer month, featuring a parallel universe of exceptional sounds!
These recent (and some not-so-recent) releases demonstrate the power of music to evoke deep emotions, transport listeners to other realms, and provide solace and reflection. Enjoy!
REVIEW | “Flying Among the Trees” by Morgan Szymanski and Tommy Perman
A three-track EP of dreamy instrumentals that reverberate gently in an all-enveloping brightness, like chimes swaying against a sunny sky, this hybrid of ambient and folk at its most sylvan comes complete with field recordings of bird song and other summery sounds of an idyllic nature.
The mood is ecstatic, dominated by reverberating, echoing, lilting tintinnabulations of analog instruments vibrating around the most delicate of synth pads.
The arrangements fly by light as air, enchanting the ear with a fairy-tale timbre, such as the toy-music-adjacent vibrations of xylophones, virtuoso acoustic guitar improvisations featuring intricate fretwork, plus a playful variety of music-making gestures such as plucking, strumming, repetitive systems of resonating bells, harnessed with the fluctuating velocity of their call and response time signatures, a tension building between chord changes and rhythmic .
'Flying Among the Trees' by classical guitarist Morgan Szymanski and experimental musician Tommy Perman is the result of a long-held wish that the two childhood friends would get the chance to record together. The three tracks that feature on this new EP were recorded alongside the duo’s recent meditative album, 'Music for the Moon and the Trees’ (reviewed below) - a gentle thing of serene beauty and quiet innovation.
REVIEW | “Music for the Moon and the Trees” by Morgan Szymanski and Tommy Perman
"Music for the Moon and the Trees" is a serene, meditative collaboration between classical guitarist Morgan Szymanski and experimental musician Tommy Perman. Released in 2022, the album was recorded in a woodland cottage in rural Scotland, a fact reflected in the music which embodies tranquility and natural beauty, with occasional forays to post-rock, beat-driven, quasi-tribal experiments, always retaining a sense of centered calm.
Richly harmonious, the twelve acoustic guitar-driven instrumentals circle the perimeter of alt-folk with a light touch of Balearic-tinged exotica, fusing delicate field recordings, the odd bit of Spanish poetry recital and occasional electronic elements that create an intimate soundscape, evoke the serene yet mysterious ambiance of the forest.
Pensive yet lyrical, measured and elegant, this record invites listeners to pause and immerse themselves in the soothing yet uncanny world of bucolic charm and enigmatic lore.
REVIEW | “Love Makes Magic (The Remixes)” by JIM
In the sultry summer of '23, the musical landscape welcomed the solo debut of JIM, the enigmatic persona of Jim Baron, known to the dance music faithful as a founding member of the super-smooth disco house merchants Crazy P and the man responsible for the dazed beats signed by his alias Ron Basejam.
His inaugural LP as JIM, "Love Makes Magic," immediately captivated a discerning audience an earned well-deserved universal critical acclaim with its seamless fusion of Laurel Canyon singer-songwriter sensibilities, the ethereal echoes of 60s psychedelic folk-rock, Balearic undertones, discoid funk, and the serene, opulent cadences of blissed-out yacht-rock.
Baron's quarter-century in the dance music milieu has imbued him with an alchemical touch and stellar connections to top notch producers, transforming the project of remixing "Love Makes Magic" into gold, by interweaving nostalgic allure of the original tracks into a contemporary dance-floor orientated tapestry that enchants the listener with its dual nature—both retrospective and avant-garde-.
The first round of sonic reinterpretations by luminaries like Crooked Man, Ruf Dug, Flying Mojito Brothers, and Generalisation not only pay homage to their sources but elevate them to new auditory heights.
Acknowledging the artistic and commercial potential of these remixes, Baron orchestrated a comprehensive remix LP.
Recently released in 2024, "Love Makes Magic - The Remixes" includes the five acclaimed remixes along with five new interpretations by X-Press 2 (who also produced two excellent additional dubs), Mang Dynasty, Chris Coco, Begin (James Holroyd), and Brown Fang. This assemblage spans a spectrum from pulsating club anthems to serene sunset soundtracks and innovative left-field electronica.
Each remix in "Love Makes Magic - The Remixes" retains the core of Jim Baron's artistic vision while charting new territories., offering the listener a multiplicity of perspectives on the original compositions. X-Press 2 injects an irresistible kinetic energy, perfect for the dance floor, while Mang Dynasty enriches the original with complex, textured layers. Chris Coco's contribution is a tranquil, ambient journey with a rousing soft-rock finale, ideal for moments of poolside daydreaming. Begin (James Holroyd) masterfully balances rhythmic complexity with melodic warmth, and Brown Fang's remix ventures into experimental realms, presenting an unexpected yet refreshing auditory experience.
In conclusion, "Love Makes Magic - The Remixes" is a testament to Jim Baron's versatility and the enduring appeal of his music.
REVIEW | “Gestures of Perception" by Khôra
"Gestures of Perception" is the recently released sophomore album by Toronto-based composer and producer Matthew Romolo AKA Khôra.
A profound exploration of the liminal spaces where sound, image, and lyrical prose converge, this album is a testament to Khôra's ability to weave intricate sonic collages from ritualized performances, augmented by overdubs and transient ethnographic atmospheres.
Offering bold reinterpretations of experimental traditions inherited from late '60s pioneers like Angus MacLise, John Cage, Steve Reich, Tony Conrad and John Zorn, the music by Khôra is deeply rooted in the long-form improvisation and conceptual expansiveness of the crossover between the contemporary avant-garde music scene, jazz idioms and post/math-rock genres.
Vibrant textures and exotic rhythmic structures create a dense, hypnotic soundscape whose core is modular synthesis, supplemented by recherché production techniques featuring overdubs, feedback, echo and reverb.
The undulating compositions are enriched by maximalist orchestration, including erhu, keys, flute, contact electronics, guitar, and diverse percussive objects, including a homemade solenoid drum machine acting as the album’s “rhythm seed”
The result is music that teems with organic and alien textures, soaring drones, and inter-dimensional noises, balancing on the edge of exotica and meditative trance, blurring the lines between the primal and the synthetic, improvisation and composition, summoning the spirits of Eastern modalities, contemporary classical, musique concrète, sacred minimalism, experimental rock, and various electronic genres.
Review | “Outdoor Work” by Ben Underwood
Out now on the super-niche Woodford Halse tape / CD / lathe cut label, this is the latest album by Sheffield-based alt-folk musician and composer Ben Underwood.
The album is a heartfelt tribute to his late mother, Bev and each gently ruminating track is a testament to the solace found in music during the grieving process.
Resonating with fragile lyricism, the standout track, "Cloud Train" is a particularly moving composition, exemplifying the album's repetitive motifs and layered textures.
Ben's ability to convey such a personal and poignant story through measured and delicate is truly remarkable, inviting listeners for a touching exploration of memory and loss, remembrance and healing.
Review | “Delight” by Arushi Jain
"Delight”, recently released in 2024 by Arushi Jain on Leaving Records, is a profound exploration of beauty and yearning.
This follow-up to 2021’s "Under the Lilac Sky", this new album presents a rich, textured soundscape, blending Indian classical music with contemporary electronic elements.
Jain, a multifaceted artist, known for her innovative fusion of tradition and modernity, seeks to cultivate an appreciation for the elusive emotion of delight through her music.
Inspired by Raga Bageshri, one of numerous classical forms of improvisation particular to Southern India, which conveys a deep longing for reunion, the album delves into themes of love and devotion.
Recorded in an isolated seaside house on Long Island, the compositions reflect the serene and contemplative environment with lush orchestrations including cello, classical guitar, marimba, flute, and saxophone aiming for an expansive sonic palette and creating a lush auditory experience layered with modular synthesis.
"Delight" features nine tracks that showcase Jain’s mastery in blending diverse musical elements.
Her intricate arrangements and emotive vocals adorn sparse compositions, highlighting the transcendental potential of repetition and the nuance of sampling live instruments.
Jain’s work, reminiscent of the ethereal romanticism of Iranian electronic producer Leila Arab,. "Delight" is a lush, textural journey that lingers long after the final note, an enduring testament to the power of blending tradition with innovation and a mesmerizing contribution to contemporary music.
Review | “SONLIFE” by SONLIFE
In the debut album from the London-based Turkish-British producer SONLIFE, we encounter a repertoire that traverses the realms of downtempo, jazz, and electronica. Released in late 2023 on the excellent DSPPR (Disappear) label run by the legendary DJ/producer Chris Coco, this eight-track LP is strongly influenced by mid-to-late '90s trip hop and chill out classics such as Massive Attack, Bonobo, Portico Quartet and of course anything released on the seminal Pork Recordings imprint.
SONLIFE melds live instrumentation with field recordings and samples, forging a distinctive, atmospheric sound from simple, repetitive loops, and it's designed to be experienced in its entirety, like an after-hours chill out DJ set, inviting listeners to immerse themselves fully, perhaps on auto-repeat.
Review | “Tyneham House” by Tyneham House
Originally released back in 2012 by Second Language in conjunction with Clay Pipe Music, "Tyneham House" is a meticulous tribute to the ghost village of Tyneham in Dorset, abandoned because of requisition during the second world war and now a quaint relic that still resonates with its historical legacy of sacrifice and loss.
Crafted by anonymous artists, the album consists of short melodic studies compiled from old cassettes and records, presented with the always exceptional artwork by Frances Castle. The fourteen short compositions, most under three minutes in duration, feature flutes, guitars, accordions, and field recordings, evoking an English countryside idyll, meditated upon with a reserved wit and moments of melancholy and nostalgia.
The music is meant to accompany reflections on the picturesque charm of a localized past, each track serving as a sonic postcard and capturing the particular essence of its pastoral origins.
Fans of esoteric folk and Second Language's previous releases will find this album deeply rewarding.
Review | “Rain on the Road” by Mary Lattimore and Walt McClements
"Rain on the Road" by Mary Lattimore and Walt McClements casts a spell of neo-classical and cinematic beauty, weaving connections between artists like Vangelis, Wim Wenders, Angelo Badalamenti, Fripp & Eno, and the duo's impressive histories with a measured, sophisticated touch.
Mary Lattimore and Walt McClements stand as two of the most innovative figures in contemporary music, each expanding the expressive range of their instruments, harp and accordion respectively.
Recorded in an intimate setting during a rainy December in LA, "Rain on the Road", recently released on the esteemed Thrill Jockey imprint, unfolds as a collection of sonic narratives shaped by long-form improvisations featuring additional whimsical instrumentation, like twinkling hand bells, pastoral piano lines and ethereally processed synth pads melting into barely recognizable backing vocalizations by celestial choirs.
Attentive listening is rewarded with subtle textures and calming, hypnotic rhythms. The nuanced use of field recordings is integrated into the delicate atmospheres, resulting in music that is unhurried, meditative, and expansively joyful.
Review | "Short Series Of Arranged Piano" by Catherine Watine
Recently released on the exquisite Time Released Sound & Time Sensitive Materials multidisciplinary imprint, "Short Series Of Arranged Piano" by Catherine Watine is a fragile menagerie of electronically tinged piano miniatures.
This album, her fourth collaboration with the label, encapsulates the melancholic and melodic style Watine is known for, perfectly fitting the aural aesthetic they have cultivated together. These delicate compositions evoke the charm of rainy Parisian afternoons, clockwork mechanisms, and enigmatic affairs of the heart.
The album features nine tracks that span from the wistful "Soul Speaking" to the intricate "Folie Piano" each offering a unique glimpse into Watine's musical world. The compositions, which include piano, cello scrapings, field recordings, and home drum inventions, create a textured and immersive listening experience, adorned with garlands of flowering references to Clara Schumann, Chopin, Satie and other legendary piano icons.
"Short Series Of Arranged Piano" is a testament to Watine's ability to blend experimental and classical elements into a cohesive and evocative whole, creating a transcendent experience that lingers long after the final note, making this album a must-listen for fans of introspective and considered music.
Review | “Cities Below Future Seas” by Cobby & Porky
This gem is an album released in 2016 without much fanfare, to enthusiastic peer acclaim by luminaries such as Nightmares On Wax, Richard Dorfmeister, Mr Scruff and Ashley Beedle but sadly not the major audience response it deserved.
The record was created in unexpected circumstances, following a hiatus in the collaboration between Steve Cobby and Porky, who crafted three remarkable albums as The Cutler Between 2007 and 2013, when Cobby chose to emancipate himself from Steel Tiger, embarking on a solitary venture with his own label, Déclassé.
Porky presented Cobby with a compilation of their unreleased collaborations, inquiring whether these compositions held potential.
After finishing the incomplete pieces and polishing those nearly done, the result is a collection of seven tracks, representing the culmination of their creative endeavors, traversing a spectrum ranging widely, from organic, majestic grooves whose expansive warmth and dreamy inconclusiveness is perfectly apposite for the most spectacular sunsets, to proto-electronic depths and raw, heavy sonic futurism.
An alchemical transformation of melody is the foundation for exploratory improvisation, for these musicians who consistently blend exotic elements into dark, bass-driven audacity.
This album is a testament to the enduring creative synergy between Cobby and Porky, even as they navigate new artistic trajectories, inviting listeners to a profound aural experience, challenging the boundaries of electronic music by proposing fantastical sonic inventions, filtered through a mesh of murky sonic textures, perched on innovative rhythmic structures, evoking both introspection and exhilaration.
It's a record that ought to be heard again and widely not only because it reinforces the legacy of The Cutler but also is a retroactive confirmation of prophetic significance, prefiguring the future potential of Cobby's solo ventures, whose decades-long and unfailingly consistent brilliance now amounts to a most significant contribution to contemporary music, resonating with the semantic complexities and aesthetic nuances that define our epoch.
Review | "The Fields Lie Sleeping Underneath" by The Hardy Tree
Initially released back in 2021 on the Clay Pipe Music label, this is yet another charming solo record by the label owner, musician and illustrator Frances Castle, AKA The Hardy Tree.
Drawing inspiration from her London neighborhood, she creates a soundscape that reflects the area's layered history—from ancient grass-covered hills to its Victorian peak and 20th-century expansion.
Recorded at home in her attic over a year, Castle paves an orchestral mosaic for mnemonic perambulating, each tile leading the listener on a circumspect walk to the periphery of nostalgia, evoking auditory memories from long-lost children's TV programs, ghostly orchestras, toy instruments, cinema organs, folk songs, and the ambient static and crackle of hereditary entropy.
Castle’s compositions, mostly but not exclusively instrumental, serve as a soundtrack to her past, hidden beneath London’s streets, the beach beneath the sidewalk, embarking on a sonic excavation, searching for fragments of history and memory to patchwork into a hauntingly beautiful whole.
Text written by Panagiotis Chatzistefanou, Berlin, June 2024