Jethro Tull: 'The String Quartets'
Being something of a proglodyte, I adore Jethro Tull - and while this disc might look like Ian Anderson could be trading on former glories, I actually think it really works. The songs translate successfully, helped by the frontman's flute (not a euphemism) which gave the originals such a timeless feel in the first place. This selection is the arrangement for 'Locomotive Breath', re-christened 'Loco'.
Elliott Smith: 'Either/Or - Expanded Edition'
I'd always considered myself a huge fan of Smith's music. But it was only when this re-issue of my favourite of his albums was announced, that I realised how hard I had found it to play the CDs following his awful death - now some 14 years ago. Revisiting this record, I found myself binge-listening to his whole body of work, and falling in love with his seemingly inexhaustible supply of melancholic melodies all over again. The appropriately named 'Either/Or' is the precise 'bridging' point between his early albums' whispery acoustic and the later, more robustly produced material. The expanded edition adds some fascinating finds, including his demo of the gorgeous 'I Figured You Out' - a song he found surplus to requirements but recorded beautifully by Mary Lou Lord. But this choice here is 'Alameda' from the original track listing - both firm and fragile, the delicate web of a tune spun over a steely shuffle. Lovely moment when the second verse - and the bass - seem to arrive in a hurry.
Max Richter: 'Orlando: Modular Astronomy' from 'Woolf Works'
Sadly, I haven't made it to a performance of 'Woolf Works', the ballet by Wayne McGregor based on three of Virginia Woolf's novels. However, the score is a haunting, addictive suite by Richter that stands up brilliantly by itself. With clear appeal to someone like me who worships at the Glass altar (among others), the 'Orlando' section variations in particular are resourceful, inventive and welcoming. They manage to conjure up a meeting point between the cerebral, restless personality they celebrate, and a life-affirming physicality for dance.
7JK: 'Ride the Solar Tide'
Regular readers (thank you, darlings, thank you) will know how much I admire Matt Howden - aka Sieben - who records his solo material with voice, violin and a loop station. Pushing constantly at these parameters, he manages to use his apparently restrictive set-up as a springboard for one heroically inventive and original album after another. However, in his collaborations - such as the mighty Rasp record with Jo Quail and this project with Maciek Frett of Polish industrial band Job Karma - he can really let rip. Dark folk and industrial/noise have long seemed to be unlikely but steadfast 'counter-culture' bedfellows, and in 7JK you have a full-on merger, with Matt's swirling, pulsing fiddle barely contained by the electronic rhythms beneath it. Placing Sheffield firmly within the outer reaches of the solar system, the whole album is a surreal, sinister yet mischievous treat - this track, 'Barry the Astonishing', a great entry point. Channel your inner Estonian!
Cavern of Anti-Matter: 'Blood-Drums' and 'Void Beats / Invocation Trex'
Cavern of Anti-Matter is the latest band from Tim Gane, one of the chief masterminds behind the much-missed Stereolab. Anyone who cherished that group's ability to produce driving, 'motorik', groove-laden anthems while simultaneously sounding so laidback and nonchalant will find much to enjoy here. Without Laetitia Sadler's understatedly cool vocals, this is inevitably a different and slightly less 'sensual' proposition. Instead, there's a kind of techno-fury added to the gloriously analogue mix - real drums propelling synths set to maximum 'squelch'. Two CDs released in quick succession: both great. This is the title track to 'Blood-Drums'.
Lavinia Meijer: 'The Glass Effect'
With one CD entirely devoted to Philip Glass already under her belt, harpist LM has returned to the source, but this time with a luxurious two-disc release that places more Glass arrangements alongside complementary works by a range of contemporary composers (such as Muhly and Arnalds). A great and satisfyingly epic listen, but it's almost impossible for me to tear myself away from the PG compositions themselves - and here is an example, Etude 17.