Further. : Quarterly Report Q1 2019 & Playlist

Further. launched in January 2019. Its objective was to create a place where I could review things that caught my attention but which didn’t ‘fit’ Documentary Evidence, or where I didn’t get to cover that particular release for Electronic Sound.

During the first quarter of the year I reviewed 15 albums or singles, published one interview, and included a guest review written by Erasure’s Vince Clarke. It was a modest start to the blog, a testing of the water if you will. I will try harder during the second quarter.

Below is the full list of content published during the first quarter. There’s also an accompanying Spotify playlist including tracks from each record (where available on that platform), along with ‘Gallery’ by Californian electronic pop artist Dresage which completely passed me by at the time.


Kaada – ZombieLars (Soundtrack) (Mirakel Recordings)
Kamaal Williams – New Heights / Snitches Brew (Black Focus Records)
The Silver Field – Rooms (O Genesis)
TOTM – Bliss / Blurred (Flickering Lights)
Karolina Rose – Invicta (Violet Sunset Records)
Neu Gestalt – Controlled Substances (Alex Tronic Records)
Lucy Mason – Flashback Romance (self-released)
Hugh Marsh – Violinvocations (Western Vinyl)
Bayonne – Drastic Measures (City Slang)
Modular Project – 1981 (hfn music)
Evelyn Glennie/ Roly Porter – One Day Band 17 (Trestle Records)
Maja S. K. Ratkje – Sult (Rune Grammofon)
d’Voxx- Télégraphe (DiN) – reviewed by Vince Clarke
Kilchhofer / Anklin – Moto Perpetuo (Marionette)
Jonteknik – Electricity (The People’s Electric)

The Silver Field


Words: Mat Smith

(c) 2019 Further.

Evelyn Glennie & Roly Porter – One Day Band 17

Trestle Records’ One Day Band series unites musicians for special one-off recordings, consistently resulting in collaborations full of wonder and surprise. For the 17th album in the series, electronic musician Roly Porter (Vex’d) was put to work alongside esteemed percussionist Dame Evelyn Glennie.

This is a session where Glennie’s technique is often more felt than heard thanks to Porter’s intense processing. The exception is ‘Part 3’, which starts with some atmospheric rhythms and drum sounds while Porter seems to be respectfully biding his time for the right moment to interact with these rich and varied sounds. It’s not until the second half that he emerges from the shadows, whereupon his interventions crash upon one another, leading to a deafening and vital conclusion of rapturous and thrilling feedback.

The track exists in direct contrast to the album’s first piece, which is full of gnarly drama, tense drones and abrupt crashes derived from Glennie’s timpani but converted via Porter’s kit into shards of punishing electronic weaponry. The album’s final piece is where everything locks together uniformly, a challenging yet transcendent epic presented as an impenetrable wall of sound, through which you can just make out Glennie’s intricate patterns and Porter’s electronic flourishes.

One Day Band 17 by Evelyn Glennie and Roly Porter is out now on Trestle Records.

Words: Mat Smith

(c) 2019 Further.