P. J. Philipson: Linotopia
LCR Records
Manchester Evening News described P. J. (Peter) Philipson's Peaks as one of 2014's “most beguiling releases”; one imagines it might say much the same about his follow-up, Linotopia, which draws in part for inspiration from the former Linotype Works in Manchester's suburban area. Vini Reilly, Manuel Göttsching, and Steve Reich, among others, are cited as musical inspirations, but truth be told you'll likely come away from the recording less fixated on connecting the dots from Philipson to others than with being captivated by the Manchester-based artist's fulsome gifts as a guitarist (acoustic and electric) and composer.
Each of the ten settings presents a self-enclosed soundworld that resolves itself satisfyingly and with dispatch: only one pushes past the seven-minute mark, with all others lasting three to four minutes at a time. Philipson augments the presentation by incorporating tone generators and an occasional field recording, but however elaborate the sound design grows, he never loses sight of the importance of compositional form and melody. One's attention is understandably arrested by the waves of flickering judder and stutter that stretch across the open skies of “Sodium Light Years,” for instance, but the effects ultimately ground themselves in a simple yet nonetheless effective compositional structure. Garbled voice effects prove similarly transfixing in “Bowling Into Deconstruction,” yet again it's the melodically grounded framework that most recommends the piece.
The ostinato guitar pattern with which “Renold Concertina” begins suggests Philipson's could have had The Dream Academy's “Life in a Northern Town” in mind when writing it, but the tune gradually distances itself from any other when textures of dream-like sparkle drape themselves across the piece's foundation. That aforementioned Reich influence asserts itself when the multi-layered patterning of “Rhythmanalysis” plays like some miniaturized riff on Electric Counterpoint, and with lead electric guitar supported by twinkling, starry-eyed textures, the sci-fi-tinged “Model 48” moves the Göttsching connection to the forefront.
Many different bases are covered on Linotopia. Urgent rhythmic sputter gives “Machinery” a mutant techno feel, for example, whereas “Sunlight on Open Stairs” not surprisingly exudes a rather peaceful, pastoral character. Being compositionally strong, Philipson's music still engages when treatments are minimized and the guitar's natural timbres shine through, as they do during the placid reverie “Ghost Loyalty.” Never is his artistry more evident, however, than during “Linotype,” a gorgeous, wistful set-piece whose slow-motion melodies arc so gracefully they alone justify the album purchase. However much comes away impressed by Philipson's production-related acumen, it's the strength of his songwriting that'll have you revisiting the recording.September 2018