Violin, cello, double bass and viola de gamba (Google it) are the main tools here, and their processed loops, lock-grooves and leitmotifs create ambiences by turn plaintive and wrought. There is something of Kid A, Skeleton Tree and Mica Levi’s Under the Skin OST to Corker’s latest work. Includes Portico’s Jack Wyllie giving some early Corker a once-over as well. Vinyl.
7/10 Laurie Staff review, 20 April 2017
It’s that time of the day, the review-a-soundtrack-to-a-film-that-you-havent-seen hour. And what an hour it is, the string music swirling away while your imagination flies off trying to guess what the film looks like, making shit up as it goes along. Well here’s a film called The Have-Nots that’s about the aftermath of 9/11, so lets not get carried away here.
Adrian Corker has made some music for it that uses a string quartet of sorts, but with a viola of the ‘da gamba’ variety rather than the standard one, which is like a large acoustic-guitar-cello bowed freak of an instrument. Rather than play straight and pure string arrangements, Adrian and pals take little loops and whirl them around into succinct drones, layering up distortions (as with Lucy Railton on ‘Index’) and sometimes abandoning that format and Corker completely for some minimal solo piano chimes on ‘Andrew Renton Becomes an Art Critic’, which is by Laurence Crane. Is this even an Adrian Corker album at all?
These larger statements are punctuated by pure string tracks, slithering miniatures that clock in around 1m30s each. They feature groaning, droney low end and icy harmonics, all the right stuff. The main thing i feel with this though is that it doesn’t really work as a full album - the collection doesn’t entirely make sense. Maybe this is a case of having to see the film beforehand. Or maybe I’m an unfeeling lump.
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- The Have-Nots OST by Adrian Corker
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