Music

Bexar Bexar: Haralambos

David Antrobus

Bexar Bexar

Haralambos

Label: Western Vinyl
US Release Date: 2003-11-04
UK Release Date: 2003-11-10
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Noted astronomer-mystic and unapologetic marijuana smoker the late Carl Sagan once remarked on our home planet's surprising smoothness in this footnote from his 1994 book Pale Blue Dot:

If the Earth were the size of a billiard ball, the largest protuberances would be less than a tenth of a millimeter in size -- on the threshold of being too small to see or feel.

Surprising, since it seems weird to our Guinness-record type sensibilities. I mean, come on -- what about Everest, Death Valley, the Mid-Atlantic Ridge, and Puerto Rican Trench and all that impressive shit? But no, fact is, from some perspectives, pretty much anything is unremarkable. Or even remarkable, if you're the half-full type.

For some reason, listening to Bexar Bexar's ambient full-length Haralambos puts me in mind of that odd dichotomy. Such instrumental minimalism carries with it, after all, an invitation and even an expectation to be ignored; sounds of a distantly floating orb in the cosmic background chatter displaying few gradations or peculiarities or especially, dammit, character. Taken in isolation, simple electronic melodies, few complex beats, languid guitar strums, none of these elements promises much alone or even in concert. But then, that's only if you adopt the Mars-or-beyond perspective. Home in on this particular pale dot and a delicate blue eggshell begins to show its jagged peak and shadowy gulf contours -- which is something of a (cough) relief (sorry). It's like the eminently sensible Brian Eno once said:

Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.

So, now that we've gotten the weighty quotes out of the way, what about this music? Is it worth the training of our attention at either (or both) a micro or a macro level? Does its initial anonymity ultimately limit its reception? Well, yes, a qualified yes. It would be easy to imagine such burbling electronica and scenic airiness doubling as the soundtrack-backdrop to anyone's vague and fuzzy life; classic wallpaper music in other words. But wait right there, adjust that super zoom, allow your attention to focus on the gathering mountain ranges and enfolding crevasses, and Haralambos will begin to offer up more than just the half-glimpsed nebulous prettiness it first promised/threatened (and remember, half-glimpsed nebulous prettiness isn't necessarily a bad thing in itself).

Fifteen instrumental pieces drift by in less than 45 minutes, revealing contours, crackle and economy, touching the cerebral, the sensual and the sentimental equally.

Opener "N.R.O.T", although pleasant enough, barely escapes the soporific; a lazy room temperature blur of low-end beats-and-bass overlaid with some perfunctory guitar glissando and quiet electronic dabs. Which is fine, because "Aidos" is now set up to surprise us. A slightly more corporeal laptop foundation, oddly insistent like the spooling engines of some waiting alien ship in a nearby hangar, is thrown into relief by a neo-Spanish guitar figure. These simple elements together -- emotion and its shadow -- wind like serpents around each other, and the effect is one of wistful urgency. The glassy analog synth that slips between the guitar notes, completing this affecting trifecta, while still understated, also manages to home in (inexplicably) on the heartstrings. Through subtle rhythm and deft melodicism, infinitely patient yet oddly galvanizing, "Aidos" in particular personifies instrumental music at its most compelling, every bit the equal of fellow travelers Mœm, Labradford, Sigur Ros. If nothing else on Haralambos quite matches the second track for emotion ("Memento Mori" comes close with its incremental heartbeat imperative and tiny sorrowful guitar scribbles), the album is nonetheless consistently inventive while remaining partially hidden from view. I mean, you could do the dishes or bathe the dog to this music, and it would feel alright, but when you train your entire focus onto it, there is a disconnect there -- pleasant can quite easily turn into melancholy, relaxed into something more sinister.

If the likes of Mogwai and GY!BE represent the sonic equivalent of acrylics or oil paints, Bexar Bexar is emblematic of watercolours, washing like tears or rain behind and between the mundane and the indifferent. Whether that is a good or bad thing depends to some degree on personal taste (much acoustic guitar detailing, distant-ocean synth-swells, and beats too quietly subtle to ever move a dance floor), but even more crucially, on the observer's literal perspective. In other words, billiard ball or planet?

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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