Brian Eno & Karl Hyde - High Life (2014) {Opal}
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Electronic / Synth Pop / Electro-Acoustic / Alternative
High Life, the
second collaboration between Brian Eno and Underworld's Karl Hyde, began
immediately after the completion of Someday World. Its release follows a
mere two months later. While some traits of the former are present here
-- a heavy reliance on African-sourced rhythms, and hypnotically
repetitive keyboard and bassline -- it is a very different companion.
While the pair relied on more formal "song forms" on Someday World, High
Life is looser. These six tracks place more value on jamming. The
centerpiece is Hyde's guitar. It's front and center throughout, with
myriad rhythm tracks close behind. A two-chord reinvention of Chuck
Berry's signature riff commences album-opener "Return" before becoming
subsumed in sonic treatments and Edge-like sounds.
Nonetheless, that vamp worms its way into the brain and feet. Hyde's
drifting vocal is mixed far underneath his six-string; it's negligible.
Skittering percussion loops and a droning keyboard eventually come to
prominence balanced by an organ playing more like a calliope, building
on and subtracting from the riff. A humming bassline merely echoes the
guitar changes and it goes on for nine minutes. Though only four
minutes, "DBF" is pure funk, with Hyde's chunky guitar chords hammering
right at the percussion and syncopating it. "Time to Waste It" combines
both high life and Caribbean rhythms with a slowly unfolding, merciless
repetition that becomes momentum. The heavily treated vocals unhurriedly
open out in a bigger circle. It's a "song" that feels like pure
improvisation. The proto-disco rhythm guitar in "Lilac" -- featuring the
album's silliest lyrics -- is juxtaposed with psychedelia and gospel in
the vocals. Eno's keyboard treatments pulse; they twist and turn it
inside out without forsaking the reverence in or spaciness of the
singing, while the guitar keeps the foot race going. "Moulded Life" is
careening, chaotic electro Afrofunk -- we could have used much more on
this set -- with Adrian Belew-esque guitar parts cutting in a number of
directions, as keyboards churn, burp, and crash with dissonance above
glitchy rhythm tracks. Closer "Cells and Bells" is an outlier. Given its
predecessors, it's almost ambient in comparison; it's a spectral elegy
with a monotone vocal that becomes part of the instrumentation. There's
just enough actual (musical) form to keep the thread, as it is, to a
close. High Life sounds like it contains little "strategy." These jams
feel spontaneous. The constant repetition with more or less subtle
shades of developing dynamic and texture in all but the last of these
tracks creates a nearly endless groove. And perhaps that's the album's
point, creating an album of dance music that's fun to listen to; a
mirror image of Someday World's more carefully structured avant pop.
Personnel:
Brian Eno – vocals, synthesizers, treatments, guitars, organ, background vocals
Karl Hyde – vocals, guitar, bass guitar, background vocals
Fred – keyboards, drums, percussions, background vocals
Leo Abrahams – guitar, bass guitar
Marianna Champion – background vocals
tracklist:
01 - Return
02 - DBF
03 - Time to Waste It
04 - Lilac
05 - Moulded Life
06 - Cells & Bells
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