Album: KINGBASTARD – Beautiful Isolation (Herb 2010)

First up, there’s been a lot of talk about hypnagogic pop recently (in the Wire in particular). My dictionary defines hypnagogic as 1. of or pertaining to drowsiness and 2. inducing drowsiness. Is that really what they mean – pop that makes you sleepy? Or is it just misuse of big words that folk don’t really know the meaning of?

It’s just an aside, although there is a sense that the adjective could be used to describe the new Kingbastard magnum opus Beautiful Isolation. It’s too good to induce drowsiness, but it does inhabit a weird area between dreams and reality.

Anyone familiar with Chris Weeks’ previous works will know him as a playful and eclectic purveyor of electronic music that weaves found sounds and acoustic instrumentation into its melodic fabric. But they won’t be prepared for this at all. Beautiful Isolation plunders its ideas from prog, psych, folk, ambient, new age and soft rock but in unexpected ways. It’s an odyssey of sound and song that is consistently fascinating. Although there are ten tracks, most don’t stick to one theme throughout and often go wandering off in unrelated directions. The whole, though, flows beautifully.

Throughout the album, you catch glimpses of things that remind you of something else, but never in a blatant way. Structurally and thematically its closest cousin would be something like Dark Side of the Moon. It’s partly the way it flows and yet paradoxically leaps about stylistically, partly the way that field recordings – snatches of manic laughter, static, car alarms etc – are integrated, and partly the loose concept that holds the album together: a theme of, well, isolation.

Nearly every song is a conglomeration of different music ideas – some mere snatches, some fully developed into songs that could be plucked from the whole more or less fully formed. Losing My Mind Through Bridge Meadow immediately drags you into the KB soundworld, with multi-tracked vocal harmonies, acoustic guitar, a short snatch of staccato strings and all this before the central song emerges – a brief gem of bucolic, psychedelic pop.

All but three of the tracks are, for the most part, beatless. The title piece is one of the trio that isn’t, and is one of the most melodically straightforward songs on the record, even though the organ driven song is broken up with sections of quasi-ambience, and the coda consists of some fairly grandiose washes of synth. The Deserter is an outstanding folkish, acoustic ballad and one of the album’s key highlights (and why does the little loop at the end remind me of Trumpton?). Others include Sound the Alarm, a distant cousin of the Beach Boys’ Sloop John B played at half the tempo and with twice the melancholy which somehow ends up rattling along like a drum ‘n’ bass tune.

The finale Hapus A Ddaeth I Ben (Croesi Bysedd) brings us back to the Dark Side of the Moon comparisons, as there is some common ground with that record’s closing duo Brain Damage / Eclipse, although the Kingbastard track is much more fractured into different bits, even more than anything preceding it.

Beautiful Isolation is a fantastic achievement, and an unqualified success. It’s a phenomenal patchwork of splintered themes, fully-realised songs and splendid sonic exploration. I’ve hardly scratched the surface in this review, there’s so much going on. I’m no fan of the ‘buy-if-you-like’ tagline since it reduces music to lazy ghettos. But if a record that is part early seventies Floyd, part Future Sound of London, part side two of Eno’s Before and After Science and part Animal Collective sounds at all intriguing to you, I’d say get your wallet or purse out. The album is out at the beginning of May

Tracks
1. Losing My Mind Through Bridge Meadow 7:01
2. The Slippery Slope to The Lost Art of Conversation 8:48
3. Beautiful Isolation 8:28
4. The Deserter 5:10
5. Open Up Your Mind and the Door 6:44
6. Multicoloured Octopus Ink Nightmares 7:01
7. Seawater Fool – Firewater Fool 4:34
8. Prendegast Cherry Grove 5:21
9. Sound the Alarm, There’s a Dark Sea Rising 8:31
10. Hapus a Ddaeth i Ben (Croesi Bysedd) 8:39

Websites
www.herbrecordings.com
www.kingbastard.co.uk
www.kingbastard.bandcamp.com

Album: KINGBASTARD – Tied Up to Machines (Herb Recordings HERB011 2009)

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Short and sweet, the new mini album by Kingbastard is a sampledelic brew of skewed beats and primary coloured melodies. Most of the tracks have a bounce and zest to them, ranging from the big beats of opener “Boombox” to the Casiotones of “The Captcha”. Brevity is the name of the game – even the eight minute closer is actually two tracks rolled into one.

“4M813N7RK” adds a gentle interlude of delicate drones before “The Secret Life of Machines” leaps in, borne aloft on a clatter of daisywheel printers and other assorted office ephemera. “Say When” starts with a zip of angular beats before it morphs into a Lemon Jelly-ish stew of sampled soft-rock, scratching and acoustic guitar loops. The untitled coda is a delightful Super Mario type melody that just stays the right side of cheesiness.

Tied Up to Machines sounds like it was a lot of fun to make. It’s certainly a record that doesn’t take itself too seriously. It’s frothy and has a spring in its step, but is a long way from being self-consciously wacky. Definitely one worth seeking out – it’ll be out on April 27th.

Tracks
1 Boombox 4:00
2 F47G4M3R 3:00
3 The Captcha 2:10
4 4M813N7RK 2:15
5 The Secret Life of Machines 4:30
6 1M4GTRGUY 2:05
7 Say When 8:00

Websites
www.herbrecordings.com
www.kingbastard.co.uk

Album: KINGBASTARD – Bastardize (Herb Recordings HERB006CD 2008)

The name Kingbastard conjours up visions of a group of moody, lank-haired blokes in black with a singer who sounds like a grizzly bear with a stick up its arse. Fortunately, it’s nothing of the sort. Bastardize is a collection of a dozen concise, eclectic electronic tracks produced by a guy called Chris Weeks. It’s sometimes playful, sometimes dark, but seldom dull.

There are nods to artists like Luke Vibert and Mike Paradinas, particularly in the way that, although Weeks takes his music seriously, it’s not taken too seriously. Some pieces skip along on a tide of breakbeats and glitches, whilst never quite abandoning the central melody. Others are played straighter. “Boxclever” is a furious slice of fuzzy two-step, whereas “Goodbye Mr Bedingo” is a beautiful,moody, dark ambient interlude and “Parenthesis”harks back to the golden age of the Warp Artificial Intelligence series. The one-fingered Casiotone melody of “Mind That Child” seems to belong to an even earlier age of ZX Spectrums, Commodore 64s and sepia-tinted episodes of Tomorrow’s World, and ends in an ice cream van rendition of “Greensleeves”.

“Data-Rape Function-Creep” (not sure about that title) is an altogether darker, grimier beast. “Bipolar” is possibly the best of the bunch. Introducing a doleful vocal (not unlike Guy Garvey), the music sounds like prime-period Aphex Twin, with melancholic synths and juddery beats. There are a couple of tunes that are a bit run of the mill glitchy electronica in the Paradinas mould, but most of the album is very strong – eclectic but consistent.

Following the excellent Engine7 album, Herb Recordings seem to be building a decent roster of home-listening electronica acts. Bastardize is another very good release from the label. It’s out on September 22nd through Cargo distribution, available as both a CD and download.

Tracks
1 Tripod 3:55
2 Boxclever 4:08
3 Setoperator 4:31
4 Parenthesis 4:01
5 Mind That Child 4:21
6 Data-Rape Function-Creep 5:41
7 Bipolar 3:29
8 Goodbye Mr Bedingo 3:32
9 There’s a Little Machine in Everything 3:44
10 Follow the Dot 4:12
11 Got Milk Duckstomping 3:52
12 Eg2 4:14

Websites
http://www.myspace.com/kingbastard
www.herbrecordings.com