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CD-DETAILS SCORE [HERBERT, MATTHEW]

Herbert, Matthew

Score [Pop]


RELEASE: 23.03.2007


LABEL: !K7 Records

VERTRIEB: Rough Trade

WEBSITE: www.matthewherbert.com

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Dogme 95's filmic principles, prohibits the use of any pre-recorded musical sources, as well as any synthetic sounds that imitate acoustic instruments.

Furthermore, accidental sounds or errors should influence the process of his production. Herbert considers mistakes in programming or recording as the welcome intervention of random humanity in a sterile world. This is a man, after all, who runs a record label called Accidental.

Deriving much of its musical content from human skin, hair, bones and the random contents of Dani Siciliano's handbag, Herbert's 2001 album 'Bodily Functions' was the audible result of putting this theory to practice. But far from being limited by these self-imposed rules, the record unlocked rich new vaults of unique sound and fascinating rhythm from the most unlikely everyday objects.

In 2003 Herbert redefined his musical agenda yet again with his big-band album 'Goodbye Swingtime', which was recorded at Abbey Road studios with 16 jazz and
session musicians. Despite its self-consciously traditional elements, the album was
composed under strict PCCOM rules, and again featured Siciliano on vocals. The subsequent live shows, including Sonar in Barcelona, the Montreux jazz festival, and Roskilde festival in Denmark, were rapturously received by large crowds.

From bedroom samplers to concert halls, Herbert continues to expand the horizons of electro-organic music.

The political content of Herbert's music has become increasingly overt in recent years. His 2004 album 'Plat Du Jour' was his most rigorously experimental to date, featuring sounds entirely derived from food and its packaging. Unified in concept and content, it used witty culinary metaphors to attack not just giant food companies but also the death penalty, body fascism and war in Iraq. In Britain, 'The Guardian' called the consequent live shows, complete with a chef making live smells "a wild stimulation of senses, feet and intellect".

In 2005, Herbert produced 'Ruby Blue', the debut solo album by Moloko singer Roisin Murphy. A fertile garden of flamboyant dance-pop and artfully textured jazz-funk.

Herbert's latest album, 'Scale', is probably his most pleasingly pop-friendly mellifluous so far. But beneath its deceptively glossy surface sheen of jazz, disco and sensual house rhythms lie quietly anguished meditations on mortality, global suffering and the end of the oil age. Among the 723 objects sampled on these lush tracks are coffins, petrol pumps, meteorites, an RAF Tornado bomber, and somebody being sick outside a banquet for a notorious London arms fair. More than any previous Herbert album, 'Scale' combines immaculately groomed dance music with subversive subject matter.

Herbert is as solid as a rock in these times of "borderless digital arbitrariness," as the German newspaper 'Die Zeit' once described his work. Between programming mistakes and the conceptual stringency of his PCCOM manifest, between divine accident and strict intent, whether he scores films or theatre shows or paints the musical backdrop for fashion shows - Herbert's endless innovation and transgression of genres is never just art for its own sake. His music is always engaged in lively dialogue with the wider world, with the past and future of experimental music, with its own political and economic origins.

Crucially, in most cases, you can also dance to it. Matthew Herbert's records are true weapons of mass seduction.

(Quelle: !K7 Records)


FORMAT: CD


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