Album Review: Minotaur Shock - Orchard

Minotaur Shock
Orchard
Rating: Grrrr

A lot of criticism of modern electronic and dance music is that it is cold and inhuman, lacking the warmth of analog instruments and more traditional band setups. I don't ascribe to that view as I have heard countless all-electronic tracks that are as emotionally rich and inviting as any "real" music out there. But for some, there is no getting them to see past their limited viewpoint. Certain electronic artists, however, have addressed this concern by incorporating more acoustic and traditional instrumentation into their work. Bristol-based musician/producer David Edwards, better known as Minotaur Shock, has always merged guitars, banjos, strings, and woodwinds into his tracks, leading critics and fans to label his music as "folktronica," and there is a very jaunty and whimsical side to his sound. His latest album Orchard takes this approach almost to another level, blurring the line between electronic and acoustic.

Nine minute opener "Janet" is a shock at first, blasts of analog synth and Japanese koto lead into a steady beat of real drums, dropping away into a tight groove of strings, xylophone, and acoustic bass; eventually breaking down into a lovely acoustic section. The song morphs and spins all over the place, but is kept in check by Edwards' good ear for arrangement and pace.



Glitchy electronics are underscored by skittering acoustic drums and fractured, treated piano chords on the dense, jittery "Ocean Swell," while the theme is continued on "Through The Pupils of Goats" where the mixture of analog synth washes and acoustic instrumentation lends the track a wonderful sense of beauty.



After the brief acoustic interlude "Too Big To Quit" the track "Westonbirt" takes off on a thumping house beat before a clash between more traditional and electronic elements creates a unique tension. These theme is continued in the frenetic pace of "Lending Library," with its jazzy beat and rush of interconnected vocal samples.



There is a delicate playfulness running through these tracks, from the tribal funk into Spanish guitar workout of "Quint," the funky bass underpinnings of the fragile closing number "Adventure Orchard," to the sparkling keyboards cut up into pointillistic stars of sound on "Saundersfoot."



Orchard is definitely a quirky release and might frustrate some listeners with its restless jumping between the acoustic and electronic. For me, the tension and contrast provided by this push and pull was too fascinating to not be sucked in whole. For all its musical schizophrenia, Orchard is remarkably assured and controlled.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.