THIS WEEK’S NEW ALBUMS REVIEWED | FEATURE
Fir Wave (My Own Pleasure)
Recent 6 Music darling Hannah Peel is justifying the hype on this album of purist electronica, for which she’s been given the keys to KPM Records’ vaults of obscure and influential library music – specifically 1972 series Electrosonic, composed by Delia Derbyshire and the Radiophonic Workshop. Hannah has fully deconstructed the sinister hide-behind-the-sofa primitive synth experimentation of the originals, modernising them with analogue and digital electronics within a concept of organic cycles, representing an ecological theme.
Fir Wave is no Thunberg-does-Kraftwerk though, as there’s plenty to intrigue the mind without feeling lectured. On Wind Shadow, echoing birdsong is eclipsed by gusts of static blowing through, collapsing the edifice of the tune while a choir sings from a church in the ether. Emergence In Nature strikes the balance between classic R&S Records techno, the artificial intelligence of Aphex Twin and Orbital covering house classic Strings Of Life with a euphoric climax of woodwind, keyboard stabs and 303.
Ecovocative is a standout, with deftly woven fingerclicks, buzzing synths, a subtle acid wash and chimes. Patterned Formation updates the eerie electronics of the original, The Pattern Emerges, blending futurism with the natural in the spirit of 80s Japanese ambient pioneers like Hiroshi Yoshimura. This is cracking headphone music to transport you to another dimension.
words CHRIS SEAL
The Devil in Me (Steamhammer)
The Detroit drawl, the thumping choruses, the badass basslines, they’re all here on The Devil In Me, Suzi Quatro’s follow up to 2019’s No Control. Both albums have been a collaboration with son Richard Tuckey, but this even stronger release further updates her classic 70s sound and shows just how far Quatro has come, musically, in the intervening half-century.
The opening trio of tracks are pretty unstoppable as Quatro revisits one of her most iconic characters, the Glycerine Queen from her 1973 debut, on Hey Queenie and produces possibly her most earworm chorus on the similarly themed Betty Who. She still does what she’s always done best – presenting the strong, sexual, female perspective without any apology for the lack of male indulgences – and it’s great to hear how she sees these characters, and herself, now: check out Do Ya Dance’s bellow of, “Satisfy my thirst… let me finish first!”
Trips into blues and soul territory give Quatro the chance to show off her more emotional delivery and some pretty stunning bass work. But when irresistible closer Motor City Riders kicks in, you start to wonder if there’s not a leaner, 10-song, five-star album of out-and-out rock in here fighting to get out.
words JOHN-PAUL DAVIES
Tonic Immobility (Ipecac)
It’s been seven years since we heard anything from Tomahawk, the band put together by Mike Patton and Trevor Dunn of Mr Bungle, but what better band to commemorate these weird times, than one of the weirdest in the business?
Tonic Immobility is another collection of what Tomahawk do best. Duane Denison peels off staccato riffs, Patton barks, croons and shrieks and the engine room of Dunn and drum supremo John Stanier lay down the most awkward of rhythm patterns. There is even a touch of Latin flavour in the mix. It’s a beautiful mess. The chemistry these guys have make this yet another album of theirs to be treasured.
With so much legendary music on their collective CV, they could be forgiven if Tonic Immobility did not reach those heights. But it does, and in some cases surpasses it. Like almost anything Patton and Dunn put their talents to, it’s hard to pigeonhole Tomahawk, and I guess that’s the point – but for context, if Faith No More represent Patton’s most commercial venture then Tomahawk would be the next on that list. Uneasy listening for the masses.
words CHRIS ANDREWS
VARIOUS
Edo Funk Explosion Vol. 1 (Analog Africa)
If there was a style that would make the world so much brighter if it came roaring back tomorrow, it’s surely West African funk. Fusing the tropical chill of indigenous highlife styles with the driving grooves of Western-inspired grooves back in the 1970s created the perfect beach party soundtrack, a raucous sound so incessantly good-natured and warm that there was little stopping it taking off in the steamy nightclubs of equatorial West Africa alongside the region’s most famous exports, Afro-disco and Afrobeat.
There have been some killer West Afrofunk compilations, namely the excellent Africa Airways volumes, but Analog Africa’s latest release comes solely from the Nigerian state of Edo, bringing the sounds of its capital Benin City and its three most influential Edo funk artists [pictured, top]: Osayomore Joseph, Akaba Man, and Victor Uwaifo. These tracks are a little cross-section of time and culture for the Edo people, but a wonderfully chaotic mood-tonic for those of us so far away and almost 50 years later, with the language between us. Hopefully that ‘Vol 1’ means we’re in for another slew of terrific West African releases.
words JASON MACHLAB
Oh No (Polyvinyl)
Since vocalist and multi-instrumentalist Jamie Stewart founded Xiu Xiu in 2002, he has consistently delivered work that’s dark, confrontational, and challenging. Now on 12th album Oh No, he finds a way to keep things fresh after almost 20 years. This is an album of collaborations with a number of different artists, ranging from indie staples you’ll recognize (Chelsea Wolfe, Liars) to the more obscure (Susanne Sachsse and Fabrizio Modonese Palumbo took some Googling); what’s really impressive, though, is just how well these collaborations work.
Opener Sad Mezcalita and single A Bottle Of Rum are classic Xiu Xiu, with Sharon Van Etten and Liz Harris’s voices providing a good contrast to Jamie’s pained croons. For the most part this album is more accessible and less disturbing than a lot of Xiu Xiu’s previous work – Liars collaboration Rumpus Room has a throbbing beat that’s almost danceable, and we even get a cover of The Cure’s One Hundred Years courtesy of Chelsea Wolfe. The album can feel a little uneven and unfocused at times, but if you’re already a fan or like the artists featured it’s well worth a listen.
words MATT LEE