I wasn’t planning on a week of showcasing mainly left-field electronic burbling – astute readers will notice that I don’t plan anything at all – but it has worked out that way. You can tell this at a glance of the ANBAD front page – it’s full of vaguely colourful pictures instead of band images. Electronic artists love to hide behind vaguely colourful images.
It’s often useful not to dwell on the whys, and to simply get stuck into the doing. This, I believe, is the secret behind pretty much everything, but especially so when it comes to the usually solitary process of making electronic music. Too much thinking hurts everyone and everything involved.
I’m not saying that music like Halls‘ Cave Days isn’t thoughtful, or even thought-out, just that such dreamily soft and persuasive songs have to be drawn from the depths of the mind by near-nefarious means.
Grappling with the kind of fresh-bread-warm synth sounds that were Orbital’s trademark and using them in an wholly different manner is a tough task, but craftily achieved here. Cave Days slips past, seductive, soporific and fragrant.
Its presence is only apparent when the song carefully drains itself into silence. Replaying the song immediately is then a requirement. Now that’s the sign of a great song. Beautiful.
ALSO: Matt from the brilliant Pigeon Post asked me to write about an overlooked band for his Scattered Pearls series of articles. I’ve sullied his excellent blog by blabbing about all-but-forgotten New Zealand band The Chills, and you can read it here.