This time around, however, she’s pushed the pop boat out.
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And any album that contains the line “I was in the rave when you were making trip hop” is always going to get the vote round these parts.ĭuring a 10-year career, American-Canadian musician Meg Remy has travelled, via six albums, plus various singles and EPs, from lo-fi drone-pulse raging to the glitchdelic sampling antics of her last album, Half Free, her first for 4AD. If he can nail things live throughout the festival season many will still be talking about this album at the year’s end and beyond. His experience bleeds into his music, giving it a maturity that belies its lightness. Raf Rundell is not a young upstart, wide-eyed and fresh out of his teens, but he doesn’t care about that and nor should we. Throughout there’s a loose theme, never over-hyped, of a society at odds with itself as a result of communication technology (which the cover art emphasises). Stylistically, he wanders wherever he fancies, from the Vince Clarke-esque “Falling Out” to the brassed-up and dub-bouncy title track. Rundell is also quite capable of a Prince-ish falsetto, as on the party-funker “Sweet Cheeks”, or even dryly rapping, as on “Ric Flair”. He has a warm soulful voice that often sits between Damon Albarn and Peter Gabriel and, indeed, the music here sometimes bears a passing resemblance to the poppier, less frantic material the Blur singer has created in the 21 st century. The singer-producer from The 2 Bears fires out his second solo album and it’s a significant step on from his intriguing but patchy 2016 debut. It’s not one for those desiring the mainline train of Shawn Mendes, Sam Smith, Sheeran, the Gallagher Brothers et al, clearly, but for anyone who wishes to hear one of the year’s most fascinating, invigorating vanguard records, it’s a one stop shop.
There’s singing here and there too, folk tales and samples. String Figures has a techno aspect, in the hum and buzz of its machines, but is also much more organic, the rhythms emanating a funkiness, didgeridoo-ish sounds swerving in and out, and all those other recordings she’s made carefully built into it, adding up to something amazing. Where to begin with this one? Zoe Mc Pherson is a Brussels-based producer of French-Northern Irish extraction who collects field recordings around the world, from Indonesia to Greenland, then works with the accomplished percussionist Falk Schrauwen, and a load of electronic equipment, to turn them into something thrilling.
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