Adrian Corker & Jack Wyllie new album

Listen and buy the album here

Listen and buy the album here

Adrian Corker has released a new album of duo improvisations with multi-instrumentalist Jack Wyllie.

With the electronics reminiscent in places of Jaap Vink and Elaine Radigue and with echoes of Jon Hassell or Arve Henriksen the new record captures seven key moments in an ongoing dialogue each named for the precise moment of recording: from a finely sculpted ocean of static to deep gongs complimenting fast, high microtonal loops of saxophone.

Matthew Herbert - A Fantastic Women & Disobedience

This year Matthew Herbert has provided the score for two films by Sebastián Lelio "A Fantastic Women" and "Disobedience." 

A Fantastic Women premiered at Berlinale in February and received the Silver Bear award for Best Screenplay. 

"The light hot-and-cold shiver that characterizes his latest sets in from the first, head-turning notes of the score, a stunning, string-based creation by British electronic musician Matthew Herbert that blends the icy momentum of vintage Herrmann with spacious gasps of silence.” -Variety

More info: www.komplizenfilm.de 

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Disobedience staring Rachel Weisz, Rachel McAdams and Alessandro Nivola is an adaptation of Naomi Alderman’s novel about a woman who returns home to her orthodox Jewish community in London and rekindles a romance with her cousin’s wife.

"Perhaps the most successful aspect of Disobedience is Matthew Herbert’s searching, at times sinister score. It brings to mind the way Mica Levi’s score for another Chilean director’s Toronto-premiering film, Pablo Larraín’s Jackie, suggested a dark interior force or spirit guiding and haunting the more placid imagery on screen. Herbert’s music gives Disobedience jolts of allure and mystery.” - Vanity Fair

Disobedience is screening at the Toronto film festival and will be released in the UK on 4 May with a US date yet to be announced

 

Concert for PROEM-AID at the Gagosian Gallery London by SN Variations(Adrian Corker)

A free concert to mark the latest SN Variations release: John Cage's Two4 for violin and sho, performed by Aisha Orazbayeva and Naomi Sato. 

Register here: http://www.brownpapertickets.com/event/2968756?date=1727113

The programme also features a choshi (prelude or introduction) from the traditional gagaku repertoire of Japan, played on sho, and music from the early 17th century by Orlando Gibbons, for treble viol (played by Liam Byrne) and violin. 

Programme: 

Gagaku traditional: Oshikicho no Choshi (the tuning song of the summer) - solo sho
John Cage: Two4 - violin and sho
Orlando Gibbons: Fantasies - violin and treble viol
Georg Philip Telemann: Canonic Sonatas - violin and treble viol

Players:
Naomi Sato, sho / Aisha Orazbayeva, violin / Liam Byrne, treble viol

About PROEM-AID: 
The event is free but we request that attendees make a donation to PROEM-AID, an organisation dedicated to saving migrants' lives at sea. 

PROEM-AID: http://www.proemaid.es/en/
Donations page: http://www.proemaid.es/dona/ (with link to Paypal)

The organisation was founded in response to the humanitarian catastrophe in the Mediterranean Sea, where thousands of immigrants risk their lives trying to reach European shores. Since December 2015 the organisation has saved the lives of thousands of people in the southeast of Lesbos (Greece).
 

Karl Hyde & Matthew Herbert: Fatherland (Original Music from the Stage Show)

Fatherland (Original Music from the Stage Show) is a collection of recordings by Underworld’s Karl Hydeand producer/artist Matthew Herbert.  The songs are based on extracts from the script for Fatherland,  a play conceived and written in collaboration by Karl, playwright Simon Stephens(Curious Incident of the Dog in the Night-Time, Punk Rock) and Frantic Assembly‘sScott Graham.  Premiering at Manchester International Festival  this July.

Read more about it here

The Matthew Herbert Brexit Big Band

Matthew Herbert brings his big band back to centre stage with a response to Brexit.

A typically ambitious collaborative journey and an ‘extended farewell party’, Herbert is encouraging the public to participate in an evolving project which started when Article 50 was triggered and will culminate in an album release on the day the UK leaves the EU. Tonight sees a showcase of some of the music created so far as well as works from his previous big band incarnations, adding guest musicians from the UK and Europe, singers and choir.

As a DJ and producer in the late-90s, Herbert sampled organic sounds generated by everyday objects into dance remixes and original tracks. He’s taken that spirit with him in his two big band projects, bringing together leading Jazz artists and creating music responsive to the political landscape. ‘The message from parts of the Brexit campaign were that as a nation we are better off alone. I refute that idea entirely and wanted to create a project that embodies the idea of collaboration from start to finish.’Matthew Herbert 

Tickets here

Fatherland: Songs and stories from a forgotten England

Fatherland – a bold new theatre show created by Karl Hyde, Frantic Assembly’s Scott Graham and playwright Simon Stephens, focusing on contemporary fatherhood in all its complexities and contradictions.

Inspired by conversations with fathers and sons from the trio’s home towns in the heart of the country, Fatherland is a survey of life in Britain’s towns today. The show will reinvent the familiar spaces of Manchester’s Royal Exchange Theatre, with a cast of 13 men and a remarkable, all-embracing musical score by Karl Hyde and Matthew Herbert.

Read more here

T2 Trainspotting, with Music by Rick Smith

“I’ve often said that when Danny Boyle asks you to get involved in something, you don’t say no. You choose yes. Now it’s twenty years on and the whole family is back on the train… what an amazing journey it’s been.” (r)

Rick’s relationship with Danny Boyle started in 1996 when two Underworld tracks were used in the screen version of Irvine Welsh’s Trainspotting. Underworld’s tracks continued to appear in Boyle’s films with the band scoring his film Sunshine and the National Theatre production of Frankenstein. Boyle engaged Rick as Musical Director for the London 2012 Olympic Opening Ceremony, and shortly afterwards he created the score for Boyle’s trippy heist movie Trance.

This year they are back working together, along with the original team on the hugely anticipated sequel to Trainspotting, T2 Trainspotting, which is released on 27th January 2017.

Adrian Corker The Have-Nots review

A Closer Listen reviewed Adrian Corker's score for The Have - Nots. 

Are soundtracks getting better, or are we just enjoying them more?  It’s hard to tell.  Either way, 2016 has been an especially good year for creative scores, the latest example being Adrian Corker‘s The Have-Nots.  Our measuring stick is simple: to succeed, a score must stand on its own, which eliminates many mainstream entries, hampered by repetition, the lack of memorable minor themes, and an overload of incidental music.  Not so the score for The Have-Nots, which needs no visuals to make a visual impression.  Even a 46-second track such as violinist Aisha Orazbayeva’s “Faustina” makes an indentation on the ear.

But this is Corker’s show, and he catches the attention from the very start with a locked groove ~ not the way one typically begins a soundtrack, but a swift way to distinguish it from competition.  Assembling a quartet of violin, viola da gamba, cello and double bass, Corker establishes that this will not be business as usual; one leans in to hear what the musicians will have to say.  Experimenting with the degradation of acetate, Corker also plays music that by nature can never again be played, save for echoes caught in loops.  The ephemeral nature of such sounds reflects the dissociative tendencies of the characters in the film: the memories degrade, the impact fades.

The opening notes of the trailer (from Laurence Crane’s lovely piano piece “Andrew Renton Becomes an International Art Critic”, also on the soundtrack) provide little indication of the danger ahead.  But wait until 1:37 of the trailer for a snippet of the distorted drone “Index”, recorded with Lucy Railton, and one can sense the wheel beginning to turn.  A girl scolds the camera:  “Bad, bad, bad!”  It’s clear that something is amiss.  The contrast provides the album with a welcome tension that tries to hide beneath the skin but is all-too-quickly exposed.  The dissonant tones of “Supermarket” form a bracket around “Renton”; no matter how one attempts to keep one’s loved ones safe, it’s often to no avail.

From this point forward the score is pointedly dark, colors fading like the palette of the film.  The finale, an a cappella John Cage cover with words by e.e. cummings, seems intended for the end credits, but instead of comforting, it continues on an unsettling trajectory, less suited for popcorn than for an after-film drink.  Whatever the merits of the movie, the score is a winner.  (Richard Allen)

Release date:  5 November

Listen to a track and pre-order the LP here: http://bit.ly/thehavenots

Beth Orton's album Kidsticks released

When musicians talk about getting back to their roots, it’s usually an excuse to pull out a battered old acoustic to create some bare bones music. In Beth Orton’s case, going back to her roots meant something very different. 

Having relocated to California a couple of years ago, Beth began experimenting with a series of electronic loops that would eventually come together as her career-redefining new album; a record inspired both by the wide-open nature of Los Angeles and the spirit of Beth’s earliest recordings (electronic work with producers like William Orbit, Andrew Weatherall and Kieran Hebden as well as groove-based music with Red Snapper). 

When musicians talk about getting back to their roots, it’s usually an excuse to pull out a battered old acoustic to create some bare bones music. In Beth Orton’s case, going back to her roots meant something very different. 

Having relocated to California a couple of years ago, Beth began experimenting with a series of electronic loops that would eventually come together as her career-redefining new album; a record inspired both by the wide-open nature of Los Angeles and the spirit of Beth’s earliest recordings (electronic work with producers like William Orbit, Andrew Weatherall and Kieran Hebden as well as groove-based music with Red Snapper). 

Herbert: Guardian interview + Meltdown show

‘I can make music out of a banana or David Cameron or Belgium’

Matthew Herbert spoke to The Guardian about using music as a political weapon, sampling everything from the sound of bullets to pigs and his music from 90's raves to his new album The Shakes and everything in between. 

“I don’t like the idea of an average listener...You and I might not know what bullets sound like but there are plenty of people who do. There are people out there who know what a protest march sounds like. We’re so used to being handed things on a plate, whereas I’m interested in the journey one might make to find out what those sounds are. I don’t expect everyone to get every nuance of every sound – it’s about layers and layers and layers of meaning."

Read the full article here

Political music playlist

Herbert put together a political music playlist for The Guardian, including Tom Waits, Moby and Charlie Puth.

Listen to Matthew Herbert's political music playlist here

David Byrne's Meltdown

Today Matthew joined David Byrne on Lauren Laverne's 6 Music show live from the Southbank, ahead of his performance at Meltdown Festival this Sunday, get tickets for the show here. He also previewed an exclusive track, "Something At The Door", created from the doors of the Southbank centre called made in a Japanese hotel room. 

Listen to the interview and track here

Matthew Herbert: The Music - a new album, that's a book.

Matthew Herbert talks about his next album, The Music; 

"For my next record, I will write a description of the record rather than make the music itself. It will be divided into chapters in the same way that an album is separated in to tracks. This is that book.

Each chapter will describe in precise detail what sounds to use, how they should be organised and occasionally an approximation of what the net result should sound like. Crucially it must be able to be recorded for real given enough time, access and resources. However, I will never make the record. It will always just be a description of the music itself.

Somewhere buried in the last 100 years between the invention of the microphone, the tape machine, the sampler and the computer, music has undergone a formidable and profound revolution. Instead of making music with specifically designed instruments, we can now make music out of anything (whether it is intrinsically musical or not). Why use a violin when you can use a lawnmower? Why use a lawnmower when you can use the explosion of a bomb in Libya? This fundamentally changes the basic structures and assumptions of music as we move (painfully slowly) from a form of impression to a form of documentary

I would like this book then to be a kind of manifesto for sound that makes this shift explicit. In that way there will be no musical instruments or lyrics described in the piece. Instead, we may read about the sound of Samantha Cameron rubbing suncream into David Cameron’s back on holiday in Ibiza, mixed in to the sound of 21,000 taxi drivers turning off their engines at exactly the same time. It hopes to challenge how we think about music, sound and of course, how we hear the world itself."

Support the album and watch Matthew's video about the project here

Underworld live at Hollywood Bowl, LA

On Sunday 21st June Underworld returned to the iconic Hollywood Bowl to celebrate 20 years since their album dubnobasswithmyheadman. 

'This is Underworld at their best, a helter-skelter zigzag into the future. They don’t need 3D-mapped LED sculptures because the super-dimensionality promised by EDM is inside the band itself, their history, their musicianship, their ideas.’ LA Weekly 

‘The group hasn’t lost any of that energy, and delivered as it was in its natural habitat — under the stars, lost in its own universe — it still felt vital.’ LA Times 

‘…Pretty much the entirety of the venue was on their feet and the faster “Pearl’s Girl” brought the best of Smith and Hyde’s dynamic to bear; Hyde using his voice as an angular repetitious melody all its own while Smith mutated the song from fast sequenced synths into breakbeats and bass drops by the ending.’ MXDWN.COM

Delivering pure classic Underworld… had thousands letting lose under the stars with flying glow sticks up in the air.’ HMV 

 

Photo credit: Chris Mølina

Underworld play Hollywood Bowl

On 21st June 2015 Underworld return the LA’s Hollywood Bowl to celebrates the 20th anniversary of their album dubnobasswithmyheadman performed along with their landmark hits as part of KCRW’s World Festival series.

TICKETS HERE

Underworld’s dubnobass.. show at Primavera was described by Stereogum as;


“One of the more overwhelming live experiences I’ve had in recent memory… It felt like a small, internalized, intense club show rather than standing in a massive crowd of people”

Support acts on the night include Jungle, returning to the US hot on the heels of their acclaimed Coachella show earlier this year.