EXCLAIM! shares the new single/video from Toronto's Jordaan Mason & Their Orchestra, "No More Metaphor"
Even the most ravenous devotees of Toronto music might have overlooked Jordaan Mason — this is apparently the first time Exclaim! has writt
"NO MORE METAPHOR" is "seven and a half minutes of terse, vulnerable and verbose vocals, the distant thrum of percussion, and a muted chorus of horns and flutes. It all recalls mid-aughts baroque pop greats like Owen Pallett, Sufjan Stevens, Grizzly Bear and Beirut."
1) As hard as it is to believe that Warp Records mainstays Plaid have been making experimental electronic music now for over twenty-five years, it’s even harder to believe that they’ve managed to do without markedly adjusting their basic formula for success. Plaid have staked out a well-defined musical territory for themselves by choosing on each new record to continually mine their existing plot of land rather than explore new terrain elsewhere. Their latest album, the appropriately named The Digging Remedy, reiterates that the Plaid game plan remains intact.
Luckily for Plaid, their game plan has usually been a pretty good one. Their music is a unique strain of listenable, hyper-melodic experimental electronic music that fits the frequently maligned tag “Intelligent Dance Music” all while sounding truly like no one else. They’ve also never made a truly bad album, which isn’t easy to say for a band who’ve been together that long, both in their current incarnation as Plaid and in the past life as the Black Dog with Ken Downie (anywhere from 10 to 15 records depending on how you’re counting). If nothing else, the Plaid blueprint is strong, unique and reliable.
The Plaid coming to us now on The Digging Remedy is in a sort of fourth stage: from the early Black Dog years running from ‘91-‘95; to the first Warp trifecta golden era of ‘95-02; to the experiments and soundtracks of ‘03-'12; and finally in 2014, they hit a wizened, back-to-basics phase. 2014’s Reachy Prints returned to the warm tones and friendly melodies that had worked so well for them over the previous twenty years. Now, two years later, The Digging Remedy picks up where its predecessor left off.
One tradition that The Digging Remedy also carries on is the somewhat odd placement of an album opener that is distinct (and often superior) from anything else on its accompanying record. 2001’s Double Figure opener “Eyen,” with it’s fade-in intro, circular acoustic guitar arpeggio and coo-ing choral vocals sounded beautiful and stands out from the rest of the album. The first two minutes of “Even Spring” from 2003’s Spokes, featuring Leila-collaborator Luca Santucci’s ghostly vocals, sounded even further away (before returning to “standard Plaid” mid-song). And Scintilli’s delightfully exquisite “missing” is perhaps the most unique track in their catalog, incorporating vocals not for lyricism but as a new instrument. On The Digging Remedy, lead track “Do Matter” lays down a tone of ominous, reflective menace that feels like a perfect development for the band: after years of playfulness and warmth, the idea of imagining a darkwave Plaid record that turns that warmth into nightmare feels like a potential home run.
Alas, that dream is not to be, as second track “Dilatone” drags the mood back to familiar territory. The jarring transition from “Do Matter” to “Dilatone,” a slight track that spins in tiny circles while going nowhere, represents one of The Digging Remedy’s biggest weak spots. Though the album reaches greater heights than its predecessor Reachy Prints with a number of excellent compositions (“Do Matter,” “Clock,” “Melifer,” “Yu Mountain,” “Saladore”), the sequencing of everything just feels a bit off, in a way that seems uncharacteristic. Too often, the momentum of a great track is followed by the slow thud of something both different and lesser. The deliberate build and pitter-patter Knight Rider paranoia of “Saladore”—the closest thing to “Do Matter”’s ghoulishness—is wonderful, but to have it wind down into the bass drum circus thump of “Reeling Birds” feels like bit of a let down.
The good news about The Digging Remedy is that it’s lovely and listenable for any longtime followers, or for anyone remotely interested in the kind of melodic IDM defined by this piece. However, it is neither an exciting deviation nor a refinement; as such, it’s really just more of an already-good thing, albeit packaged less delicately. Few artists can say that twenty-five years in they are still able to put out quality records. But here’s to hoping that next time around Plaid might consider stepping off their lawn to chase that darkwave dream.
2) I’ve been observing some of my friends’ listening habits and their music consumption trends. Some just seemingly follow paths in no particular direction; some use music to counteract their moods (when tired, looking for the up-beat rhythms); others, like me, find sounds to compliment their state of my mind (even during angry moments, angry music sounds great). By now, I’ve got a music collection spanning years of continuous play, so what in the world would I play? This morning, I am in a particular “cerebral” mood, caffeine streaming through my blood, the sun already shining on upcoming hours of the unknown, and I need that something to stimulate my mind. And, without even thinking twice about it, I turn to the latest release from Plaid. Again…
Those following the output of Ed Handley and Andy Turner since the early 90s, need no introduction to the group. And, chances are, that if you’re reading this, you’ve been converted to a fan. So what’s a writer to do, when covering The Digging Remedy, but regurgitate the history that led us to this very moment? For that, I’ll leave it to the rest, or past reviews of Reachy Prints (Warp, 2014) or Tekkonkinkreet (Aniplex, 2006), and turn directly to the sounds explored on this latest full-length studio album, released, of course, on their home label, Warp. At nearly 45 minutes in length, I also like to pair the album with On Other Hands, a 19-minute EP with four more tracks to round-up and compliment the tale.
Plaid’s story-telling is impeccable. Each piece is a microcosm of unfolding narrative, gliding around the harmonic scale with maximum precision and minimum exertion. While most electronic musicians tend to focus on advance technology trends (and this I say without much negative connotation), Plaid’s sound excels on what Turner and Handley have always done best – deliver exquisite quality in each and every track. The sounds on The Digging Remedy seem to freely breathe in an architectural foundation of rhythmic structure, definitive space layouts, and deliberate sequencing. The album delivers a particularly pleasurable sonic experience while consumed through an audiophile-grade gear (FLAC + Grace Design m903 + Audeze LCD-X on this side of the pond).
The melodic progressions keep my mind occupied with every twist, echoing my earlier desire to stimulate the thought. While the cover of the album features an “edgy” geometrical kaleidoscope of figures, the music offers a smoother ride into a universe of gorgeous harmony and immediately memorable melodies (“Saladore”, for example, is a perfect marriage between an up-beat glitchy rhythm and a beautiful theme that you’d wish would go on for another twenty minutes). Keeping the “intelligent” part of IDM, Plaid continues to explore their distinct contribution to the evolution of music, long after the rest have put their arms to rest. A perfect way to set your brain awake and unfold the intricate puzzles that reward with further listens. For more pleasant surprises visit thediggingremedy.com. Highly recommended!
3) It's startling to realize that Ed Handley and Andy Turner have been making electronic music consistently for 27 years—first as members of The Black Dog and then, since '91, as Plaid. And all of that experience adds up to a distinct fluidity in their music. Smooth transitions and bright melodies have always been hallmarks of Plaid's music, and The Digging Remedy is no exception—essentially, this is the same accomplished electronica we've come to expect from the two Englishmen.
Handley and Turner have been mining the same futuristic aesthetic for more than 20 years—after that long it starts to feel quaint. To their credit, they refresh it enough to feel contemporary. Sleek polish and careful sound design help the music stand up against their peers from the younger generation, such as producers like Konx-Om-Pax or Boxcutter.
But The Digging Remedy's tried-and-true approach can feel somewhat lacking. What starts with a John Carpenter-esque direction on opener "Do Matter" blossoms briefly with the multirhythms of "Dilatone" and into a sparkling patina of melodic elements on "CLOCK." But by the fourth track, the album slips away into background listening. This is partly due to how many tracks have similar pacing and energy, creating an intentional smoothness that winds up cloying. As a whole, the music is warm and pleasant, even occasionally gorgeous, but it feels a bit bloodless. The effect is compounded by the addition of somewhat smug-sounding (and dare I say it, middle-aged) worldbeat flute and guitar from multi-instrumentalist Benet Walsh, especially on closing tracks "Held" and "Wen."
Perhaps the biggest problem, then, is the absolute ease in which Handley and Turner handle themselves. If any part of the production process—whether in practice or emotion—felt tricky or rough, you wouldn't be able to tell. The moments of small disruption that draw you out of The Digging Remedy's electronica stupor—like the staccato intro to "CLOCK" or the way "Saladore" edges towards the dance floor—are reminders of why Plaid are important. But it's not enough to dislodge a sense of complacency that feels out of step with their reputation as innovators.
4) In the milieu of '90s British IDM, Plaid was sort of a peculiar example. They do not have the LSD soaked psychedelic weirdness or nosiness of Aphex Twin, nor the jazzy drum and bass underpinnings of Squarepusher, nor the stark abstraction of Autechre. What they do have is a preternatural sense of melody and capacity for writing memorable songs. At times, Plaid’s music almost feels more akin to post-rock bands from the U.S. like Tortoise or Pele than their Warp label mates of the '90s. There is lovely warmth that runs through their music that is almost the inversion of Autechre’s unsettling coldness. Although Plaid do on occasion sample traditional instruments, it is never clear exactly when they are doing so. The listener can easily imagine a live band reinterpreting these songs on traditional instruments, something that is hard to imagine with most of their electronic peers. The Plaid sound is well established and they do not seem very interested in reinventing the wheel, and why should they be?
On their new record The Digging Remedy Plaid provide us with one of the most satisfying examples of the Plaid sound yet recorded. Although Plaid have never dropped the ball or wandered off into ill-advised self-indulgence, they have not sounded this strong or consistent since 1999’s stunning classic Rest Proof Clockwork. These songs are catchy. The kind of catchy that makes ass wiggling and repetitive head bobbing down-right mandatory. Listeners should prepare themselves for goofy Charlie Brown-esc grins that might make you look a little bit demented on public transportation or at the gym, so be careful where you choose to listen to The Digging Remedy.
On tracks like "Melifer", Plaid have all of their strongest traits on display: hooks that will not leave your brain for days, beats that grove and bump like the finest hip-hop, and a sense of timing and songcraft that knows just what to do and when. "Melifer" is fairly short, barely four minutes long, so don’t be surprised if you feel the need to listen to this one over and over. The Digging Remedy’s 12 tracks zip by without any filler to be found, downright begging repeated listens.
It has always seemed to me that Plaid must have an abiding love for dub music and possibly other Caribbean genres like calypso. The fingerprints of dub can be felt throughout The Digging Remedy, and I do notmean dubstep, I mean Lee ‘Scratch’ Perry-ish abstractions that sound like they were beamed down from space. The tinkling and pleasant bonking audible on many of Plaid’s records, including the The Digging Remedy, often remind the listener or steel drums. All of this contributes to the signature Plaid sound, which is always warm, joyful, and spacious.
Those of you hoping for a curve ball of some kind from Plaid might be disappointed with the The Digging Remedy. This record sounds exactly like what it is: a Plaid record. Most listeners, however, will be delighted by every moment of The Digging Remedy. It is a summertime record if ever there was one, filled with sunshine and nostalgia. It just goes to show that there will always be room in the world for more hook infested, balmy electronic music that makes you grin like an idiot.
5) When you've been around since 1991, you basically have two options: get with the times, or latch more firmly onto the sound that was your making. Like the Prodigy or the Chemical Brothers, Plaid have opted for the latter option, but unlike those two, they can still pull it off.
Thankfully, they got out of their fruitless movie soundtrack cul-de-sac a few years ago, returning to Warp with Scintilli in 2011. Since then, they've rolled out a nice collection of quirky blips that fit snugly into the sound they've established, if perhaps a little too snugly.
The Digging Remedy follows the same format as a large chunk of Plaid's albums, in that it's got some amazing tracks — good enough to justify the legendary status that they've achieved — but enough average ones that the finished product inevitably gets pulled back to a few shades above mediocrity. Leading the pack are tracks like the hair-raising opener "Do Matter," "Yu Mountain," with its beautiful cacophony of clangs, and "CLOCK," which uses that ever-satisfying, old IDM chestnut of a bouncing ball effect to much success. Such heights are then marred, however, by some atonal, flute-like elements on "Lambswood."
One thing that Plaid have gotten consistently better at, however, is subtlety. There's nary a track on The Digging Remedy that doesn't gradually introduce elements into view, like landmarks slowly appearing on the horizon, a tack they've nailed since their return to Warp. It's only gotten better since their last album, Reachy Prints.
Plaid remain enjoyable, if a little stuck in a rut. Staunch Plaid fans will find plenty of joy in The Digging Remedy, but then, why wouldn't they? They've heard this record before.
6) There’s never been a dull moment in the near twenty-five years spent exploring the plaid-wallpapered, carpeted, upholstered, veneered and lacquered dwellings architected by the inimitable Ed Handley and Andy Turner. Well, except, of course, for those few barren years when nothing new appeared on the landscape.
Back in the early noughties, Plaid began strolling nonchalantly down almost Autechrean side-alleys that led them away from the wildly eclectic collages of Not For Threes and the playful quirkiness of Rest Proof Clockwork, with Double Figure pointing towards a more abstract world that culminated in the blistering sound-design of the by turns stunning then alienating anomaly that was Spokes.
Three years later, a worrying foray into collaborative audiovisual work on Greedy Baby that largely failed to create imagery that lived up to the caliber of their compositions seemed to ominously prefigure that which every fan surely dreads: a move into film soundtracks. I mean, seriously, does anyone really love it when one of their favorite acts goes down this route? It marked the end of Plaid as a prolific major player in the electronic music scene for another five years as they went dark from the Warp roster.
How wonderful it was to have them back in 2011 with the exquisitely crafted Scintilli, refreshed, recharged and bursting at the seams with new ideas. So what is this digging remedy then? Have Ed & Andy been spending time in the back garden unearthing the seeds, relics and keepsakes that were the roots of past glories as a palette cleanser to that stark, sound-design oriented material? Reachy Prints hinted at this, and listening to The Digging Remedy it’s easy to imagine that to be the case.
Nobody could accuse Plaid’s work of being unsubtle, and it’s the lack of immediacy borne of that which makes Plaid’s music such a joy to revisit. There’s always something new to discover on a Plaid record, but it really has to be said that since the release of Reachy Prints they’ve taken this to new levels.
Both that album and The Digging Remedy are not just melodically subtle, but subtly complex, both in the production and arrangements. Witness, too, just how short their recent output is compared with the more experimental, noodling days of Not For Threes, wonderful though they were. Nothing on The Digging Remedy is over four and a half minutes long, yet there’s nary a single track that feels underdeveloped.
With the possible exception of the terminally infectious “Saladore” perhaps, but maybe that’s simply because it’s so good? At just under four minutes, Plaid spend two building and layering some of their most insistent, stuttering and rapid-fire percussion in years, adding tumbling keys, then airy melodic pads, before finally topping them with sublime strings in the final minute. And it has the indecency to end there, the swine!
On opening builder “Do Matter,” the crystalline shards and prismatic beams that made the most memorable moments of Spokes and Scintilli come alive are present but so is an overarching Tomorrow’s Harvest sense of foreboding that carries over into the nervy “Baby Step Giant Step.”
Pronounced nods to the past appear on “Dilatone,” which on the surface sounds like it could easily have appeared on Not For Threes alongside “Abla Eedio” or “Prague Radio”. The sublime “CLOCK” employs that old IDM favourite: the bouncing ball effect. Only instead of it being migraine-inducing, Plaid make this both fun and nostalgia-pinging. It culminates in a frenetic, colorful melange of everything we’ve come to know and love about Plaid.
The acoustic touches of Rest Proof Clockwork shine brightly here too, even though they don’t necessarily illuminate many of The Digging Remedy‘s finest moments. “The Bee” is “Dang Spot” silly but fails to ignite on account of sounding so out of place and the penultimate “Held” warbles cheerfully enough, but merely skates above a lake of pretty. The closing “Wen,” however, is every bit as graceful and delicately nuanced as tracks like “Ralome” or “Gel Lab” whilst adding to the mix all those tricks they’ve accumulated from their soundtrack work.
Even when returning to the polished chrome of Double Figure Plaid are surpassing themselves, as evinced by the melodic delicacy of the quieter moments of “Yu Mountain” interspersed with all the clatter and clang. Another highlight of that album was also one its most atypical moments, the sublime acoustic-guitar led “Eyen” twinkling wryly amongst its other glitzy, over-polished and hyperactive brethren. The spellbinding “Melifer” mines a similar vein with its gorgeously composed guitar melodies, at first ruminative then positively chipper as they whistle through trademark metallic instruments.
Ultimately, The Digging Remedy feels like a perfectly natural successor to Reachy Prints, with Plaid firmly back where they belong: luring us in with quirky, brightly colored and accessible melodies, then trapping us in their dizzying maze of surprise, delight and hidden depths. Keep digging.
7) It’s the age-old conundrum of the music fan: Do we want progress or consistency, or both from our favorite artists? Plaid’s latest album The Digging Remedy certainly has plenty of consistency, which would be troubling had it not followed 2014’s Reachy Prints, where steady veterans’ hands made as straightforward and entertaining a release as exists in the Plaid catalog. But it also tentatively steps (back, again) into curious and experimental territory; if Reachy Prints found the electronic duo in 4/4 attack mode, The Digging Remedy suggests subsequent synthesized decay.
Andy Turner and Ed Handley create a lot of music here that’s just slightly off-kilter and imperfect, and therefore often quite interesting. This is dance music run through Sonic Youth tunings (“Yu Mountain”), Autechre patches (“Dilatone”), and uneven time signatures (“Baby Step Giant Step”). The duo also offer neotraditional songwriting structures aping the discography of Massive Attack or some live EDM band. At its best, we get the sinewy “Melifer” and the guitar kerrang of “The Bee.” At its worst—which still isn’t bad, mind you—the album loses gathered momentum in its back quarter (from “Reeling Spiders” on), veering dangerously close to smooth jazz.
But the heart of Plaid and The Digging Remedy remains disarming leftfield takes on 1990s electronica tropes. “Lambswood” is straight-up Buddha Bar material while “CLOCK” cycles through various iterations of synth-stabbing ecstatic house, tiptoeing on the edge of chaos. “Saladore,” meanwhile, is a throwback to the heady innovation of early IDM, the hard-charging stormer of the album that recalls the birth of Warp—Plaid included. After a quarter-century of making music that embraces how things change, it’s somehow comforting to hear Turner and Handley staying the same.
8) Andy Turner and Ed Handley, working under the name Plaid, have been around the block once or twice, and they've established themselves with a very unique, recognizable sound wholly their own. Their newest set, The Digging Remedy, finds them staying comfortably nestled in the well worn path they've carved out for themselves over the years.
The first track, 'Do Matter', was surprising, in that it felt like a more generic, undefined sound than I'd expect from the duo. It wasn't bad, just a very basic ambient electronic track, a weightless little thing that could have been created by any of dozens of other artists. But things quickly fell back into place with the next song, 'Dilatone', and it was like putting on an old, comfortable shoe. That distinct, bleepy clickety percussion was front and center, and it was like I'd taken a trip back to the early 2000s and was listening to Not For Threes and Double Figure again.
'CLOCK' is where the band settle down into their strengths: surging and retreating beats and synths, pulsing along like sinewaves. 'The Bee' is a mix of slightly hip-hopped beats, mild guitars, and rich and hearty basslines. Oddly, it sounds like an instrumental track by a different band, rather than a track by a band that never uses vocals. It's followed up by the appropriately sweet 'Melifer', with its honeyed clouds of chiming synths and puffy, muted bass. And of course a dash of clicking percussion.
'Yu Mountain' is another big, pounding song, with nice metallic percussion and a weirdly warbling bassline. On the other end of the spectrum is 'Reeling Spiders', which features this wonderful, inwardly crumbling synth filigree for its first half. And closer 'Wen' has delightful layers of melody bubbling past each other before it tinkles away to nothing.
But there are a handful of relatively bland tracks as well, such as 'Lambswood' and 'Saladore', that go back to that more generic electro sound, something that any number of bands could have produced back in the 90s. And since these weaker tracks seem to be backloaded, the album leaves a poorer impression than it should.
To be fair, this is generally quite good stuff, but it's also nothing you haven't heard before if you've been following the band for any length of time. If they're new to you, this is a fine place to start, as it does include plenty of the distinctiveness that makes Plaid, Plaid. But no groundbreaking, mindblowing tunes have come out of this effort. This is clearly the work of a couple veteran musicians who are comfortable with themselves and their sound, and don't feel the need to pull any stunts to impress anyone. If you go into it knowing all that, this is worth a listen.
exclaimdotca: At the start of the year, Orville Peck was playing 120-capacity rooms. In a few days, he'll be headlining a sold-out show to 1,500 fans. Our latest cover story tells the tale behind the masked cowboy's monumental rise
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Throwing it back 15 years to the first time Wolf Parade graced the cover of “Exclaim!” magazine; also the same year I saw them eating lunch at a food court on U of C campus prior to their show with Arcade Fire. I miss those days!!
LCD SOUNDSYSTEM FT. STACEY AS A BONUS BECAUSE I JUST WON TICKS FROM EXCLAIM MEDIA AND NO LONGER HAVE TO SIT BY MYSELF YIPPEE KI YAY MOTHERFUCKERS thank you exclaim! 🙏🙏🙏🙏🙏🙏🙏🙏🙏
For those wired a certain way, Tera Melos is the best fucking band on this beautiful, disgusting space rock we're all riding. Clearly, there's no one best anything in any creative field, but Tera Melos put every ounce of themselves into the music they make. They distil a quintessential version of their unique musical perspective, composed of an array of influences that create a unique sonic love signature.
But I digress: let's get back to that gross and gorgeous space rock metaphor and how it actually describes the music this demented, brilliant trio of Earth citizens make. Tera Melos trade in a euphoric amalgamation of beauty and brutality, all with a palpable sense of the absurd. Making Muppet versions of the Flaming Lips and the Dillinger Escape Plan dry hump at Disneyland is the most reductive description I can think of.
Trash Generator, the band's third album with its current lineup of Nick Reinhart (guitar, vocals), Nathan Latona (bass, vocals) and John Clardy (beast drums) concentrates everything that makes the band so fantastic — insane song structures, catchy falsetto pop-punk vocals atop gnarled riffs that mutate into alien anthems, crystalline progressive pop riffs at the turn of a dime — into tight, song-centric packages. Each overall composition is allowed a bit more breathing room and cohesive space for melody while still being as complicated as anything else the band have done.
Nick Reinhart's sound design is the most notable area of the band's growth on this album. There's a reason he jibes so well with Nels Cline (Wilco) on their side project, Big Walnuts Yonder: the level of detailed care and creativity he puts into every facet of the sounds he generates with his guitar is of the highest order. We're talking Hendrix, Weinman, Corgan, Moore and Ranaldo, Ronald Jones levels of ingenuity.
Perhaps the only quibble I can grasp at is that the bass and drums, despite being absolutely awesomely performed, are a smidgen low in the mix and generally overshadowed by the phenomenal guitar sound. It absolutely works on this album, but it'd be interesting to see what could happen with trade-offs in which instruments are bringing the sonic strangeness in the future.
Regardless, Tera Melos are in peak form on Trash Generator, dropping yet another album gorily bursting with uncontainable, joyous, genre-janking musicality and reaffirming them as the best rock band in my world. (Sargent House)
