Cosmos In Collision is the brainchild of Italy-based multi-instrumentalist Riccardo Spaggiari. His sound is predominantly centred around ambient electronica and cinematic post-rock, but it does, at different points along its musical, axis include subtle but impressive hints of ethereally atmospheric, layered electronic nugaze. His latest instrumental six-track offering entitled 'Adrift' gets its official release via the California-based net label Enpeg on the 22nd of April 2016 and is available to pre-order right now from Bandcamp.
The EP begins with the shimmering synth swells of 'Adrift'. Its opening bars are steeped in atmosphere as those hypnotically brilliant guitar structures hug the sequenced percussive hits and meld into one complete swirling sound wave. This track builds and builds into a stunning golden-hued finale of soaring sonic swells, addictive synth patterns and explosive chord structures. Up next, 'Equinox' loops and arcs through expressively intense bursts of soaring synth lines and flowing guitars, whilst track three, 'Drops', begins in a flurry of electronic bleeps and whirs before opening up into a massive maelstrom of golden sound. The rather '80s sounding 'Almost' swims in a reverberating sea of beautifully vivid sound waves until that shuffling sequenced percussion track takes over and adds a brilliant metronomic feel to proceedings. There is a subtle melodic charm hidden deep within the magnificent synth swells too, that keep you interested as the track pulses through its musical gears.
Rich layers of sound announce the arrival of this EP's penultimate track, the aptly-named 'Hidden Sun'. There is a sense of trepidation as the track builds into that impressive break before unleashing a beautiful torrent of sound that meanders to its finale. A thoroughly enjoyable track from beginning to end. 'Falling Skies' deftly closes proceedings with its repetitive synth lines and driving percussion tracks. Recommended listening!
The history of Lancashire town Skelmersdale isn't something I'd particularly considered prior to hearing the new album by The Magnetic North, the band comprising of Simon Tong (The Verve, Gorillaz, The Good, the Bad & the Queen, Erland & the Carnival), Erland Cooper (Erland & the Carnival) and Hannah Peel. To give a brief overview, the old coal mining village was designated a "new town" in 1961 and underwent heavy development to help absorb the post-war overspill from the Merseyside area, but by the 1980s it was failing, as unemployment rose and house prices fell. In an interesting twist, the town was chosen as the UK home of the Transcendental Meditation movement, as it was deemed the perfect site for them to build their "ideal maharishi village complete with gold meditation dome". It's perhaps not what you'd expect from an old northern mining town, but that makes it all the more interesting and you can see why it was chosen as the subject matter for the group's second album. Skelmersdale was also where Simon Tong spent part of his childhood, and given that their debut album was written about Cooper's home, Orkney, it seems a logical next port of call.
As you'll no doubt have guessed, 'Prospect Of Skelmersdale' is a concept album, but there's no particular narrative as such, instead the pieces of the puzzle are jumbled up, and although the music is sometimes ambient and cinematic, it's hardly a dull prog odyssey. The impact of the Transcendental Meditation movement is clearly touched upon with opener 'Jai Guru Dev', moving from sighing vocals to a sample of the speech given as the centre was opened. Later, 'Remains Of Elmer' gives a description of some of the movement's practices to a string-laden experimental rock backing.
'Pennylands' seems to speak of the excitement of moving to an "unknown" new town, with playful orchestration backing the soup of soft voices, creating a lighthearted dreampop sound and making for one of the more instant tracks on the album. 'Sandy Lane' has the feel of some of Paul McCartney's more orchestrated Beatles songs, and the arrangements have a soundtrack quality, as someone from the development company talks eagerly about the possibilities that came with this fresh urban area. It feels as though the sun is shining and the world is full of promise and wonder. This slightly baroque feel permeates the record, with 'A Death In The Woods' coming over like Vivaldi going pop, and with plenty of invention which includes the introduction of electronic beats for the second section of the song. There's also a filmic quality to the sweeping 'Cergy - Pontoise'.
On a record that very much works best as a whole, it's easy to see why 'Signs' was chosen as a single. It remains true to the spirit of 'The Prospect Of Skelmersdale', but is that bit more upbeat and accessible, although the gently swelling 'Little Jerusalem' is just as affecting. For all its promise and sometimes jaunty arrangements ('The Silver Birch' being a prime example), sadness can be found, especially on 'Exit' as it builds to become quietly grandiose, and also the sweetly lush 'Northway Southway'. Final track, 'Run Of The Mill', appears to be addressing the unfulfilled hope of Skelmersdale as if it were a personal relationship.
Overall, you'd have to say that 'Prospect Of Skelmersdale' is a quite poignant album, and one that bathes the intriguing history of this town in a golden light, as though it were an old friend. The music is often intricate and beautifully put together, so that if you strip away any back story it would still be an impressive and moving set of songs. The Magnetic North have made a splendid new addition to an already colourful history.
When Hannes Norrvide began Lust For Youth a few years ago, he initially crafted drone-based synthscapes, but these gradually morphed into poppier songs by the time 2012's 'Growing Seeds' album was made. 'Compassion' is a record that continues this quest to create alternative pop tracks that lurk in the shadows of the underground, just peeping out to glance towards the mainstream at times. The '80-influenced electro-pop craze seems to have passed, and with the less chart-oriented artists of that scene disbanded of missing in action (we're still waiting for that second album, Mirrors!), Lust For Youth are doing a good job of filling the void.
You can pick out early electronic pioneers, from Kraftwerk to Depeche Mode and Blancmange, as key influences, and the retro vibe is evident from the off, as 'Stardom' introduces shimmering synths and catchy melodies underpinned by a darkwave sensibility, and 'Sudden Ambitions' is in a similar vein. You can almost taste the hairspray and dry ice. It's perhaps this side of Lust For Youth that's most interesting, but when they opt for more outright pop tunes such as 'Limerence' and 'Tokyo' there's also something engaging to be found, possibly in the way that a certain industrial edge is added thanks to a vocal delivery that stays true to the genre's foundations rather than its more commercial period (not to mention slightly oddball/creepy lyrics such as "I hang around at bus stops...").
The icy 'Easy Window' is perhaps closer to those early soundscapes and more experimental moments such as this help keep a good balance, with 'Display' being another atmospheric number which introduces a female co-vocal. At the other end of the spectrum, 'Better Looking Brother' swirls in some '90s dance music. Closer 'In Return' is another interesting tune, this time pushing sampled speech to the front. It could be argued that 'Compassion' may be a little too left-field for the masses, yet a little mainstream for those whose tastes are a bit less sugar-coated. In reality though, people of most tastes love a good pop tune, and in Lust For Youth they might just find a happy medium.
Sundays at 8pm UK, repeated 8pm EST on Primal Radio
Tracklist:
STAY – Last Time
Buy: 'Last Time' New Planet Trampoline – Birds
Buy: 'Birds' Chris Lee – Listen
Buy: 'Listen' Big Wave Riders – Escaping The City
Free download: 'Escaping The City' Gold Light – Rosebush
Buy: 'Rosebush' The Multiple Cat – Maps
Buy: 'Maps' Obligatory Record Of The Week: Soft Wounds – Baby Blue
Free download: 'Baby Blue' Velasco – I Can't Surf
Buy: 'I Can't Surf' Friendship Club – No Limits
Friendship Club's website Fine Wives – Domestically Impaired
Free download: 'Domestically Impaired' The Orielles – Sliders
Buy: 'Sliders' Sea Span – Winter Sublet Free download: 'Winter Sublet' Baywaves – Time Is Passing U By Buy: 'Time Is Passing U By' Ask For Joy – When Your Heart Stops Beating (An Amp Of Epinephrine)
Rodney Cromwell released his ‘Age of Anxiety’ LP early last summer, followed by his ‘Black Dog’ EP which we featured in late autumn. Both found themselves doing well in year-end charts for 2015, not to mention on BBC, Spain’s equivalent of that (Radio 3), and features in various great publications, such as Electronic Sound Magazine and NME. Some may remember his various past endeavors (including the excellent Arthur & Martha), while to others he may be a recent discovery. We caught up with him to get the lowdown on the man, the music and the aliases.
Can you tell us a bit about your music and influences?
I make what has been described as lo-fi indie synth pop, which is pretty accurate as my album ‘Age of Anxiety’ was recorded in our spare bedroom using a collection of knackered analogue synthesizers. You can’t get much more lo-fi indie-synth really! Sonically it has been compared a lot to Kraftwerk and New Order, which is reasonable because they are two acts that have influenced my sound for a long time. But while making the record I was inspired by a whole mix of things, from left-field stuff like Polyrock, Section 25, Ulrich Schnauss all the way through to pop artists like Stromae, Carice Van Houten, Lady Gaga. I’m probably the only person who can hear all those influences though.
For starters, Rodney’s not your real name is it?
No not at all. My real name is Adam Cresswell. About three people remember me from the indie band SALOON, and back then I was known as ‘Adam Saloon’. After that I was in ARTHUR AND MARTHA and everyone called me ‘Arthur’. So Rodney Cromwell feels like my third stage name. Although technically a solo album, I didn’t want to use my real name. Rodney Cromwell is not exactly a rock-star name like ‘Ziggy Stardust’ or ‘The Edge’ but it does give an additional layer of enigma and performance. It also stops me getting too many LinkedIn requests from strangers. We heard that you played the recent Electro London show and that, despite not being the headliner, you actually stole the show. Have anything to say about that?
It was a great night in that everything really came together for the band and me. From what I can tell we have one of the more complex set-ups of acts on the synth scene in that we have live guitar, bass, two analogue synths and whole load of effects, along with an over-worked computer – all of which are plugged in! On the Electro London night we had a really good sound and the audience were really receptive so that gave us the confidence to push the sonics and really enjoy ourselves. I genuinely try not to pay too much attention to what reviews say. What I have seen said about our set has been really positive, but I don’t like the idea of ‘stealing the show’. The headliners MASSIVE EGO gave one of the most outlandish and entertaining performances that I’ve seen in a long time. I don’t view music as a competitive thing, I’m much more interested in a collaborative approach. All I really want to do is play well and hope a few people like it enough to buy the album; everything else is ephemeral.
Have you ever collaborated with any artists under your new stage name Rodney Cromwell? Can you tell us something about this?
I’ve only really been releasing stuff under the name Rodney Cromwell for about a year so there hasn’t been a great amount of time for collaborations. I have managed to fit in a remix for the Canadian band METER BRIDGE, which was cool, and at the moment I am working on a remix for THE LEAF LIBRARY, who are a lovely indie band from London. Also I’m putting out a 7” by HOLOGRAM TEEN on my label Happy Robots, which is the new act of Morgane Lhote, who used to be in STEREOLAB and THE PROJECTS. It’s a great record. I can’t wait for people to hear it.
2015 was a smashingly successful year for you. Last year, you released both and LP and then an EP. What was the inspiration to put out a second release so close to the first release?
After the album came out the obvious thing to do was to put out a single. One of the most popular tracks was ‘Black Dog’ so we edited and tidied it and it sounded great. It then seemed a good idea to try out an old-school 12” mix too. With the album track ‘You Will Struggle’ I always thought it would be cool to dig deeper into its ‘retro-trance’ aspect, so that became the ‘Glitchy Disco Mix’. And then my brother and production partner Dom Cresswell did an interesting reworking of ‘Barry was an Arms Dealer’ so we stuck that on and before we knew it we had a four track ‘EP’. It was no big deal. I do think people have become so accustomed to singles being padded out with tracks straight off an album or second-rate remixes, but to me it was just about trying out new ideas and putting out a quality product that doesn’t rip anyone off.
I assume that the synthpop community is quite small. Is that indeed the case? Are some countries more ‘progressive’ than others in this respect?
I really couldn’t tell you, as it is not a community that I have been a part of for very long. With the globalization of music through the internet sometimes I’ll be chatting to someone in another band and I haven’t a clue whether they are from Croydon or Croatia. I read a lot about how Sweden is one of the more progressive countries for synthpop. I have always found that Sweden was massively progressive in terms of music, culture and fashion across the spectrum. Certainly when I toured Sweden in Saloon we were probably the five least cool people in the venues each night. Even the people doing our sound looked way cooler than us.
What is the high point of your ‘real life’ as Rodney Cromwell?
That’s a difficult question because in one year there have been plenty of high points already. Supporting one of my favourite bands DEATH AND VANILLA was definitely a highlight as was playing the Indietracks festival in Summer 2015. That was only our second proper show and there were people singing along and cheering when song titles were announced – that’s what it’s all about! The very best part though has just been meeting some cool new people and hanging out with Alice and Richard who have been in the Rod Cromwell band over the last year. Obviously I don’t make enough money to pay them session rates, so I’m massively appreciative that they have been there for me. It has been a lot of fun.
What would you say is the high point of your ‘virtual life’ (i.e. social networks, online radio, etc.) as Rodney Cromwell?
Well the reaction has been brilliant for which I am eternally grateful. In December, when ‘Best of 2015’ lists were being shared, there was a lot of punching-the-air in Rod Cromwell Towers. Getting a positive reaction did take a long time though; in fact, just before the album came out, I really thought it could be the biggest flop of my career. Although I am thankful for any exposure (good or bad), the highlights for me were probably coverage from ‘The Electricity Club’ website and ‘Electronic Sound Magazine’ because they were publications that I was already a regular reader of. Their exposure certainly opened doors and gave me the push to get out there and flog the record to death, which is a part of the business that I’ve never really cared for before.
What is the last EP or LP you listened to and actually enjoyed?
I’ve been eating up everything on Bandcamp by the band BATTERY OPERATED ORCHESTRA which is the new(ish) act of Chris who was in the equally great band KATSEN. Every track I’ve heard by them is brilliant. If I won big on the lottery I would absolutely offer them a deal on my label although they probably have better offers coming in. I am going to gigs by SECTION 25, and CHVRCHES over the next few weeks so I’ve been reacquainting myself with their most recent releases too.
I understand that Malcolm Holmes from legendary pop group Orchestral Manoeuvres In the Dark has praised your work and that, more recently, Visage member now-turned-DJ Rusty Egan has come on board as a supporter. What is it like to be the object of such affection by such key pioneers in the field of synth-based music?
Haha - it’s great of course and it seems a bit crazy that people who are so influential and pioneering would be interested in what I do – I am expecting to get a cease-and-desist in the post from Peter Hook any day now! Haha. As you can tell from my press shots, I’m really not that cool or glamorous, so hearing that the guy who started the Blitz Club (editor’s note: Rusty Egan) likes what I do is amazing. People probably don’t realise that when I’m not making music I’m working a mundane office job, changing nappies, repainting the shed, stuff like that – no-one gets to see that side of the Rodney Cromwell experience thankfully.
Any other bands that you, in your turn, would also like to commend?
I really like this guy from Canada called GABE KNOX. I know nothing about him at all but he has a really great EP of electronic / krautrock stuff on Bandcamp. Also UMMAGMA from Canada. I’m looking forward to hearing what Alice does next with her band COSINES because I know they are working on a new EP. I think Andrew from REAL EXPERTS is one of the nicest guys I’ve met on the synth scene, and hopefully we will sort out doing a show together sometime. I’ve been enjoying the recent CIRCUIT3 album a lot too and, as I type, I am very much enjoying the CAVERN OF ANTI-MATTER album.
How is 2016 treating you so far? Any planned projects or gigs coming up that you can tell us about?
Foot still firmly on the pedal. I hope to put out another EP at some point. Gig bookings are coming in too. I’m playing the Threshold Festival in Liverpool on 2nd April, which should be a lot of fun. And I’ll be playing Synthetic City in Birmingham on 23rd April. I’ve not played in Birmingham since the Arthur & Martha days, so I’m very much looking forward to playing a good gig and having a decent curry before hand. If you’ve read this far and you are in the UK in April it would be great to see you at one of the shows.
Protest songs and charity records are sometimes seen as an ego (and likely sales) boost for the often rich artists involved, but for all their talent, Theatre Royal are hardly million-sellers. At the present moment there's an awful lot happening in Britain, Europe, the Middle East and further afield that will be having an effect on just about everyone in one way or another, whether that's directly or something as national (to the UK at least) as the forthcoming EU referendum. Recent events in Belgium are already being directly linked and blamed on the migrant crisis, a crisis that's caused by political decisions made by governments like our own.
Written following a debate about border control and the plight of refugees, Theatre Royal have (in what they say is a very minor way) at least made their feelings known in the lyrics to 'Standing In The Land', a single from which all proceeds go to Medicins Sans Frontieres. A calming, tender and thoughtful acoustic track, this is by no means a token gesture; a band coughing up any old rubbish in the name of a good cause. 'Standing In The land' has many of the hallmarks that the band have become known for, not least that it sticks in your head and is subtly arranged to enhance the song without any histrionics. "Fear of the unknown/it's not like we condone/but strange voices in our homes/it's too close to the bone... I saw it on my TV/but it's not in my life/we can turn it over/and still sleep well tonight...". That just about says it all.
The most recent album from Sergeant Buzfuz, 'Balloons For Thin Linda', was a masterpiece in modern, British social commentary, and the tunes weren't bad either. Alongside recording a new EP with his band, frontman Joe Murphy is recording his debut solo album as Joe Buzfuz, and first single, 'Now That I'm The Mayor Of London', sees him lyrically continue where 'Balloons...' left off. As you might expect, both tracks here see the music stripped down to nothing more than an acoustic guitar and voice.
The title-track covers an awful lot of current talking points, which would be comically sarcastic were they not so close to the truth ("city bonuses will keep libraries alive... betting shops will fund rehab for gamblers...). The lyrics are a bang-on summary of what can happen when a city (or country for that matter) is run by the hands of a privileged few. The sparse musical arrangement, which occasionally recalls some Paul McCartney Beatles tracks, allows the words to become the focal point. Although B-side '3:15' was originally penned some time ago, it's very much in keeping with Joe's current lyrical vision, focusing on the Hillsborough disaster from the view of a mental health nurse who helped deal with the aftermath. Both songs feel like the work of a modern-day bard, and one that you'd much rather have representing your city than an oaf like Boris.
