Summer is here – there’s no denying. I hope all of you managed to find time for rest, or even a short holiday. For this month’s Soundlab I’ll be suggesting albums that are as immersive as they are relaxing; of course, nothing beats a week off in your destination of choice, but an evening with some unique sounds can do wonders as well!
We’ll listen to krautrock-inspired, highly meditative jazz; a summery beat-tape from one of the most legendary hip-hop producers; a song-oriented group-effort album by Copenhagen-based cellist; some warm alternative R&B and last but not least a new record from a respected Italian modular-synth master.
Oren Ambarchi / Johan Berthling / Andreas Werliin – Ghosted
Ghosted is a collaboration between three jazz musicians – a guitarist, a bassist and a drummer. The album is highly enigmatic; there’s no clearly visible message or story and even if the listener would like to create an interpretation themselves, that also is made hard due to lack of “proper” track names.
The described lack of suggestions might be discouraging for some, but if you manage to focus on the hypnotic grooves that the trio came up with, it eventually becomes less of a problem and more of an exercise in mindfulness. Most of the tracks are nearing 10 minutes of runtime and even though they’re rather repetitive when it comes to compositions, the soft sonic evolutions woven into them manage to grab you with just enough power to stay interesting while letting you relax at the same time.
Madlib – Sound Ancestors
Last year’s release from American producer Otis Jackson Jr. might have come as a surprise to some. He’s mostly known for his work with the late MF DOOM and beat-making for other high-profile rappers. On the first sight, this seems to be a solo, instrumental release, but is it really?
Technically speaking, it is; there are no guest vocalists and everything we hear is an effect of Madlib’s meticulous sampling efforts. As for whether it’s an individual project, that’s up to your understanding of this notion. Madlib is the only per se producer here, but the album is arranged and curated by the great Kieran Hebden (Four Tet), so it wouldn’t be too far off to call it a collaboration of some kind.
As for the genres present on this one, it’s really a tough one to label. The whole listen feels like a cut up journey through Madlib’s inspirations, with some tracks crafted so skilfully that you’ll find it hard to believe they were sequenced on a sampler and not composed and recorded by an actual band.
CTM – Babygirl
Babygirl is the fourth album by Copenhagen-based cellist Cæcilie Trier. Given her classical training and the fact that the album is released on a label that’s one of Scandinavia’s most renowned electronic-music outlets, one would be justified in expecting this to be an experimental, avant-garde record. Which it, interestingly enough, isn’t!
The album is produced by quite a group of people (the precise credits can be found on Bandcamp) and it definitely shows in the eclecticism of sounds and compositions. You could probably classify it as art pop, but that would be a bit of an oversimplification. The album is a result of cello recordings, delicate synth playing, ephemeral vocals and soft production, all formed into enjoyable song structures.
Blood Orange – Negro Swan
You may know Devonté Hynes from his collaborations with the likes of Solange Knowles, FKA Twigs or Yves Tumor, though his first critically acclaimed release as Blood Orange made it clear that he has the potential to create emotional masterpieces on his own as well.
Negro Swan is – according to Hynes – an attempt to describe and combat the anxieties experienced by BIPOC individuals. Given the heavy lyrical content, the album is surprisingly light-hearted sound-wise and makes for a great listen on a summer road trip. Delicate production, great instrumental and vocal performances, and an interesting take on R&B composition – its replay value is indisputable!
Caterina Barbieri – Spirit Exit
Modular synthesiser is an instrument that would probably be better described as an ecosystem than an individual, fixed tool. The fact that this kind of a synth can be modified completely according to the artist’s vision makes it really unique – the intentionality of using such an instrument is unparalleled by any conventional sound-making tool.
Barbieri’s work serves as a perfect example of the power and possibilities such systems possess. The geometrical, semi-random sound patterns that used to constitute all of her tracks, now serve as a backbone for her voice, which adds yet another layer of complexity to what was already dense sonic matter.
Spirit Exit is the first record Barbieri created entirely in her home studio in Milan, as opposed to previous releases that were mostly made out of snippets of live performances. It definitely shows – the way the album flows is more focused, the tracks are relaxed yet substantive and Barbieri’s technical proficiency still shines through.
Piotr Wojnar, a music aficionado, producer and aspiring philosopher presents a series about sonic art, and the way sounds in general combine with other aspects of human creativity. Subsequent monthly entries include album recommendations, descriptions of their tonalities, cultural context and overall vibe.
