HOX: Duke of York
HOX is a project from Graham Lewis (Klara‘s dad, Wire bassist) and longtime collaborator Andreas Karperyd, and guess what, surprise surprise, it’s on Editions Mego (a label which seems to have grabbed me recently). This album came out late 2015, and scraped into BBO’s Top Thirty of the Year with a brief mention, but now it deserves some more words.
Duke of York has a lot in common with Lewis’ earlier solo efforts, with some beefy updates and fresher sounds. Many tracks have a definite Wire feel, with Lewis’ buzzing bass and distinctive sonorous vocals. Others lean toward the He Said synthpop style. The first three tracks demonstrate this variation. Opener ‘Anthracite’ dives straight into the He Said/Mute/Ebb/Mode slow tech march territory, with a wry spoken commentary. Rocky guitars introduce my personal favourite ‘Javelin’, leading into a fast beat, driving staccato tune, distinctive Lewis vocals, and stuttering guitars. Then ‘Correct Co-ordinates’ is definitely Wire-y. No beat as such, semi-spoken lyric, mutating into an guitar and synth layered texture.
Tense stuttering synths crash into a driving beat and howling guitars in ‘It’s Too Much’, with the title being the only vocal. Direct and to the point. In a more mellow zone, flutey tones and plucked strings open ‘X In Circle’, then a crunchy groove leads into Lewis’ signature wordplay. Deep horns round off the mixture.
Want tribal drums via Nitzer Ebb with Kraftwerk jabs? Instrumental ‘White Space Conflict’ has you covered, while standout ‘Track and Field’ is a fun exercise in bait-and-switch. What starts out as a synth-driven instrumental on Mute records, suddenly transforms into a Warp-released pulsing workout, before veering back and combining the two.
‘Goodbye’ is a strangely naive song, clearly dedicated to a late beloved friend. Its simplicity and basic rhyming lyrics make it clear that this is a sincere and heartfelt tribute. Other than that, the tune is nice, there are some nice strings and boingy synths, with Lewis’ bass rumbling throughout.
To round off the album, ‘Frequency’ a very He Said sound. Simple bass and guitar with distant sounds, then the vocals appear very close in. The chorus is classic Lewis, with the whole managing to be soothing, tense, relaxed and paranoid all at once.
This album is a good collection of functional and interesting pieces. That sounds like faint praise, and it’s true that it’s hard to get too worked up about it, but in the area they’re working, Lewis and Karperyd deliver (and if you know me, you’ll know I’m not the kind to bandy the word “deliver” about). I will continue to be a fan of the Lewises if this is what I can expect. Buy it if you want.