OK, so here’s the thing. I have this particularly visceral relationship with music. If I hear a new tune that I truly love, I am then so overwhelmed by its brilliance that I generally have to listen to it non-stop until it is thoroughly out of my system. There are particular beats which make me drunk with euphoria and as a result I have to rinse my ears out with them for the next few days, an aural form of “hair of the dog”.
Tag Archive for electronica
I have just heard such a new tune. Well, that’s not entirely true: I first experienced it at the excellent Poejazzi night a few months ago, when Anna Meredith, the composer and producer, arrived to play with her band. The piece is called “Orlok” and it is majestic. Shimmering, spiralling electronica, angrily clattering drums, breathtaking cutaways and the moodiest of marching basslines – this sounds like something not of this earth. It is the type of music that Spock and Kirk might hear on their travels to parallel universes. Brutal and beautiful, it’s the soundtrack to an alien world’s declaration of war. There are more ideas within its seven minutes than most producers have on an entire album.
This is how you do it, Kanye. This is how you do it. So much has been made of the instrumentals on Yeezus – that they are actually sublime and that we just need time to acknowledge it. But I don’t think that’s true. I have heard difficult electronic music before, such as Company Flow’s Funcrusher Plus and Aphex Twin, and I think they were both far closer to the blend of urgency and soulfulness that Kanye was attempting on Yeezus (with some success, I might add) But this here by Meredith is the real deal. I am every bit as excited by her work as I was when I first heard Mount Kimbie, and anyone who knows me knows that I cannot shut up about them. So now I am going to shut up and let you listen to “Orlok” for yourselves, as I go off to listen to this track again for the 30th or so time today. Enjoy, and if you love it, please follow her on Twitter at @AnnaHMeredith.