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It’d be dangerously easy to breeze past this new Portico Quartet album. Its three tracks of viscous synth and string layers, coaxed along by delicate rides and wistful tuned percussion, are unobtrusive, graceful things, more babbling brook than cresting wave. But that’d be a mistake: pay attention, and you’ll find real beauty here.
On
Terrain, the London jazz group lean into the minimalist and ambient textures that have lurked beneath the surface of much of their work for some time, not to mention the sound of the band members’ various side projects and collaborations (2018’s Szun Waves album and last year’s Paradise Cinema record in particular). The scope of the album is broad, and widescreen (as, indeed, they describe themselves), but there’s more to this stuff than the kind of bland universalism one might often hear soundtracking nature documentaries, and that’s due to the small details that are woven into the record’s every seam. The close, insistent toms on ‘III’; the gluey bass that underpins ‘II’ almost imperceptibly; the just-so application of reverb to the cymbals in ‘I’ that transforms them from rolling percussion to crystalline harmonic foundation, each stroke a ray of light breaking through the watery, looping textures above.
LondonCity-ofUnited-kingdomPortico-quartetParadise-cinemaTerrain-portico-quartetFast-showலண்டன்நகரம்-ஆஃப்ஒன்றுபட்டது-கிஂக்டம்போர்டிகோ-குவார்டெட்London jazz minimalists spy land ahoy with their exploratory new album
Terrain is a slightly odd choice of name for Portico Quartet’s new album in one respect. Water seems to play a key timbral role on the album, either represented in endless raining droplets from Duncan Bellamy’s ride cymbal, the softer splashes of the quartet’s signature hang handpan, or the increasingly fashionable ‘wobbly’ synth pads that give the impression of downing a few shots on the back of a fishing boat. Surely this is a contradiction to the solidity of the earth, that
Terra from which the record’s title takes its name. My suggestion would be that the ‘terrain’ Portico Quartet speak of is malleable, multi-scalar; the rough surface of train seats holding equal significance to that of the Great Outdoors. It’s worth remembering also that under the firmness of the ground lie unfathomable oceans of liquid, supporting us all; terrain without solidity need not be perilous.
Milo-fitzpatrickDuncan-bellamyAvishai-cohenJack-wyllieIa-raja-ram-esquePortico-quartetRaja-ram-esqueQuietusHequietus-comEt-music-videosHotos28 May 2021
I have admittedly not heard anything new from the Portico Quartet since their superb sophomore album
Isla. When PopMatters’ own Nathan Stevens warned us all of what happened when the group dropped the ‘Quartet’ from their name and released
Living Fields, I must have assumed it was a permanent change because I just plain forgot about them. With
Terrain, the joke’s on me. Not only did they reinstate the ‘Quartet’ to their name after their brief experiment in electronic music and go back to playing highly percussive minimalist jazz, but they have also taken significant steps in transcending their highly specified subgenre.
Duncan-bellamyMidori-takadaOnathan-stevensJack-wyllieSteven-reichPortico-quartetLiving-fieldsSteve-reichPenguin-cafe-orchestraடங்கன்-பெல்லாமிமிடோரி-தகாதLennon and McCartney go head-to-head yet again.
Ram was McCartney’s second solo album, released in 1971, and is a prime example of how popular music, on its release, is adjudged by so many factors other than music. Macca was in disfavour in 1971, regarded, wrongly, as the man who broke up The Beatles and also as the politico-spiritual lightweight of the quartet (Ringo has always been given a pass on these matters!). 50 years later, disconnected from all such blather,
Ram is a jolly thing, scrappy but fun, with an unpretentious thrown-together quality, songs such as lo-fi Beach Boys pastiche “Dear Boy” rubbing up against the entertainingly silly, music hall rockin’ ode to marjuana “Monkberry Moon Delight”. It does, indeed, sound like a man decompressing after the monumental, generational expectations placed on his previous band. In gatefold, it also comes half-speed mastered so sounds great. Lennon’s first solo effort, the
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theartsdesk on Vinyl 62: Nick Mulvey, Off The Meds, Black Keys, Kreator, Oneohtrix Point Never, Sam Cooke and more | reviews, news & interviews theartsdesk on Vinyl 62: Nick Mulvey, Off The Meds, Black Keys, Kreator, Oneohtrix Point Never, Sam Cooke and more
theartsdesk on Vinyl 62: Nick Mulvey, Off The Meds, Black Keys, Kreator, Oneohtrix Point Never, Sam Cooke and more
The largest, loudest, longest reviews of music on plastic
Green for go© Patrick Perkins
The top-selling vinyl at independent UK record shops in 2020 was Idles' latest album (closely followed by Yungblud, which is impressive, given his only came out in December!). The Top 10 is dominated by indie, rock and retro but, actually, the bigger picture is that limited runs by music in all styles are selling across the board.
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