Various Artists – Fictions

The latest release from Crammed Discs’ reinvigorated Made To Measure series is described as a compendium of ‘wordless fiction’. Curated by Crammed Discs co-founder Marc Hollander (Aksak Maboul), the album compiles eight tailor-made pieces that navigate a path between ambient, soundscapes, adventurous electronics and modern classical stylings.

While the pieces here are new, there is a sense of reverence through the inclusion of a track by Benjamin Lew and Tuxedomoon’s Steven Brown. The pair originally worked together during Made To Measure’s initial years, releasing Douzième Journée: Le Verbe, La Parure, L’Amour in 1982 and its follow-up A Propos D’Un Paysage in 1985, creating mesmerising and innovative clashes between tapes of African music and electronics. After hooking up again at a Made To Measure event in 2019, they found themselves rekindling a creative partnership, and their track – ‘A.D. Sur La Carte’ – is a haunting stew of inquisitive synths and mournful trumpet that together feel amorphous and ephemeral.

Another Made To Measure alumnus is Pascal Gabriel, here appearing in his Stubbleman alias. Gabriel released his critically-acclaimed Mountains And Plains audio travelogue for the label in 2019 and has collaborated with Crammed Discs and Aksak Maboul in the past. His piece finds him working with Norweigian trumpet player Nils Petter Molvær. ‘Ne Pas Se Pencher Au Dehors’ has definite soundtrack credentials, the melodic synth refrain and more direct trumpet playing that comes in after two minutes sounding (to me) like the perfect accompaniment to Michael J. Fox’s final scene in Bright Lights, Big City as he watches the sun rise over Manhattan’s East River and contemplates starting his life afresh.

Elsewhere, Kaitlyn Aurelia Smith delivers a cascade of burbling synths on ‘Waterways’, managing to enrich analogue sounds with an aquatic sense of motion, over which floats a pretty xylophone motif. LA’s Mary Lattimore is an artist that has truly redefined approaches to playing the venerable harp, and her ‘Bird’ offers up a sweet, heart-wrenching duet with electronics that is simultaneously hopeful yet thwarted, as if gazing wistfully on the fleeting nature of existence.

Not that these are all delicate, gentle sonic experiments. French composer and sound artist Félicia Atkinson’s ‘The Sun, Perhaps Three Of Them’ bristles with wild energy, a central white noise drone and what could be a voice is nothing short of chilling, while Christina Vantzou’s tone poem ‘Museum Critic’ use of out-of-place found sound to catch you off guard and knock you out of the meditative state provided by other tracks here.

Taken as a whole, Fictions represents an absorbing, inspiring collection onto which you can write your own personal narrative.

Fictions was released October 14 2022 by Crammed Discs / Made To Measure

Thanks to Jim at Ampersand and PG.

Words: Mat Smith

(c) 2022 Further.

Rupert Lally – Dune

Lally - Dune Tape

My youth was, I now realise, haunted by Dune. My mother, sensing a Star Wars-led interest in science fiction films, bought my an empty Panini sticker album that was issued to go along with David Lynch’s 1984 adaptation of Frank Herbert’s celebrated novel. No one else at my primary school was collecting the stickers, and with no one to swap the endless, frustrating supply of duplicate stickers I invariably ended up with, it languished, unfinished until it found itself in the bin. Later still, I ended up receiving a copy of the 1992 Amiga computer game from a friend and, like a lot of games, I was utterly hopeless at it and I guess I either offloaded it back to that friend or it went off to some floppy disc recycling place upon the occasion of one of my successive house moves.

So to say I have mixed feelings about Dune is an understatement. Those youthful experiences have meant I never bothered to read the book, and I’d rather watch Eraserhead or The Elephant Man over Lynch’s take on Dune. I know – sacrilege, right?

But maybe there’s hope for me yet in the form of Rupert Lally’s brilliant new soundtrack to Herbert’s book, released as part of the Bibliotapes series. Lally is no stranger to this endeavour, releasing a coveted score to another sci-fi novel, John Wyndham’s The Day Of The Triffids, via the label earlier this year. Herbert’s book was originally presented in the science fiction periodical Analog, and, perhaps with intentional reverence, Lally enriches these 26 evocative cues with a beautifully-rendered analogue synth spice (pun intended).

Pieces like ‘Giedi Prime’, ‘Remember The Tooth!’ and ‘Leave No Trace’ proceed on prowling, throbbing bass tones full of both threat and mystery, representing a recognisable stylistic motif that runs through the whole of Lally’s vivid score. There are moments, such as on ‘A Deal With Kynes’, where those tones eddy upward with aggressive and intensifying malice, signalling danger, while elsewhere they ebb away into distant, mollified texture.

And yet nestled within these bleak wastelands of atmospheric sound, we find the spiralling melodies, intensifying arpeggios and pulsing beats of the singular ‘Wormsign’, representing a seamless entanglement of Seventies space disco, progressive house and Eat Static-y galactic psychedelia.

The fifty copies of the cassette edition of Lally’s Dune justifiably sold out in record time. Fortunately, these absorbing, pulse-sharpening tracks are all available at Rupert’s Bandcamp page, a link to which can be found below. I’m now finally going to go and track down a copy of Herbert’s book. It’s about time…

Dune by Rupert Lally was released September 13 2019 by Bibliotapes.

Words: Mat Smith

(c) 2019 Further.

Rupert Lally – The Day Of The Triffids

Stuart McLean’s Bibliotapes cassette label is focussed on curating imaginary soundtracks for books. For its second release, Swiss electronic musician and soundtrack aficionado Rupert Lally has chosen to create a soundtrack to accompany John Wyndham’s 1951 sci-fi novel The Day Of The Triffids. Lally himself is no stranger to this concept, having previously delivered imagined soundtracks to J.G. Ballard’s High-Rise, a score that gave Clint Mansell’s music for the 2015 film a good run for its money.

Given the harrowing, apocalyptic subject matter of the book, it goes without saying that the tone here is resolutely gloomy. Using an array of synths, Optigan and Mellotron loops and instruments like flute, Lally’s cues are dark and occasionally oppressive, full of lurking dread and inescapable destruction. The use of a jaunty Optigan loop on ‘The Coming Of The Triffids’ provides a brief moment of levity before its wonky music hall leanings are quickly rearranged once more into nightmarish drones and murky tones. Moments like ‘Shadows Before’, ‘Shirning’ or ‘…And Further On’ range from near orchestral atmospherics to ephemeral, dread-inspiring low-frequency tension. It is this unpredictable, haunting variety of sounds that marks this out as arguably Lally’s most definitive statement to date.

The Day Of The Triffids by Rupert Lally was released by Bibliotapes on April 17 2019. All fifty of the cassettes are now sold out but the tracks will be available at Lally’s Bandcamp page from April 23 – rupertlally.bandcamp.com

Words: Mat Smith

(c) 2019 Further.

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.

Reviews

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)

Interview
The Silver Field

Playlist
Spotify

Words: Mat Smith

(c) 2019 Further.

Kaada – ZombieLars (Soundtrack)

John Erik Kaada’s Closing Statements was one of last year’s standout albums, straddling as it did the worlds of electronic music and modern classical composition with a moving suite of pieces dealing with final farewells. A versatile composer for his own solo releases as well as film and TV, Norway’s Kaada is also a frequent collaborator with Faith No More guitarist and Ipecac label head Mike Patton, making him a highly adaptable and fluid musician with a penchant for unexpected eclecticism.

This new release contains some of Kaada’s work for the TV series ZombieLars, a coming-of-age teen story filtered through the voguish lens of vampires, werewolves and zombies. The collection showcases Kaada’s precise rendering of mood and texture via styles that feel inextricably linked to an 1980s soundtrack recipe. ‘Algebra and ‘Annerledes’s synth sprinkles and dominant beats sound like they may have consciously mainlined the score from Escape From New York, while the stentorian ‘Beeserk’ has a stop-start quality akin to a classically-infused flavour of dubstep. The urgent, moody ‘Detroit’ stands out for its unswervingly hypnotic layers of bass and haunting melodies, while ‘Brain’ captures some of the maudlin quality that dominated Closing Statements with stirring strings and gentle arpeggios.

ZombieLars is released by Mirakel Recordings on January 25 2019.

Words: Mat Smith
(c) 2019 Further.