Musca

Musca is Matthew Herberts return to the "domestic house" sound of his two most highly praised works, Around the House and Bodily Functions. True to his methods, he bases his tracks on sounds recorded at his farm, which he manipulates and transforms into musical instruments. There are some obvious untreated sounds present, like birds chirping and water dripping, but much of the time its nearly impossible to tell where the sounds were sourced from. To the ears, it registers as music rather than audio collage. Nearly all of the songs feature vocals, all by singers Herbert hadnt previously worked with and hasnt met in person, and there are also several guest musicians, yet all of Herberts collaborators recorded their parts in isolation. This adds up to an album thats both intimate and communal, composed of small sounds and textures but expressing bigger feelings, particularly through the guest vocalists. "Fantasy" is easily the albums most memorable tune, cleverly snaking flutes and manipulated vocal hooks around Verushkas passionate, yearning lyrics. Allie Armstrongs singing is transformed into a haunting choir during the dreamlike "Might as Well Be Magical," and her voice curiously lingers at the end of the hypnotic "The Impossible." "Tell Me a Secret" is carried by clacking, plate-like percussion, then reaches its peak with Sian Roseannas spirited "I can feel the sun on me" chant. While the album has some sleepier tracks that somewhat dull the momentum, "Be Young" is not one of them, as it constructs tricky melodies and intricate breakbeats around Daisy Godfreys sophisticated vocals. The album ends with the classy standout "Gold Dust," a mixture of soulful house and brassy big-band jazz, with horns erupting around Bianca Roses enthralling vocals. ~ Paul Simpson

人里離れた地を想起させるような環境音と砂利道を踏みしめる足音は、パンデミックによってゆっくりと過ぎ去る日々のメタファーだろうか……。だが扉を開けた先には、忘れかけていた音楽が溢れている。ストレートに身体に語りかけてくるようなリズムと親しみやすいメロディーはダンス・ミュージックとして申し分なく、それでいてちょっとした遊び心と政治的主張も忘れない意欲作。聴けば聴くほどにあの薄暗い空間が恋しくなる。
bounce (C)長谷川義和