Lol Hammond and Duncan Forbes 'Who Will Stop the Robots' review | An ecological dream
There is something magically enigmatic about Lol Hammond’s and Duncan Forbes’ newest LP, ‘Who Will Stop the Robots’, that was released on 24 July 2020 on Lol’s and Duncan’s record label, Sparkle Jar. It is their second collaborative LP, following their 2019 debut ‘Days Without End’, although they are no strangers to working together as they have collectively scored several films, such as Hatton Garden Job, Accident Man, 90 Minutes and Obey. They’ve been firm friends for years, both originating from the revolutionary dance music of the 1990’s and, consequently, this album is one of complex sophistication. ‘Who Will Stop The Robots’ plays with genres, from electronica to trip-hop to post-rock whilst maintaining the cinematic wonder that Lol and Duncan both feel so passionately about.
When I first heard the LP’s title, I could not help but think of the apocalyptic horror that is seen within sci-fi books and films and the fear of the complete destruction of the organic in favour of man-made abominations. Whilst there is nothing horrific about this album, we are constantly reminded of the precariousness of the world and its delicate beauty. ‘Who Will Stop the Robots’ is a radiantly enchanting journey, consisting of 11 unique tracks that seamlessly transport you from one mood to another.
To put it simply, the opening track ‘Angel Hill’ is beautiful. The reverberated notes of an effectively uncomplicated piano tune bleed into each other, creating a tranquil ambience. The sustained string notes only add to its cinematic quality and its peacefully reflective harmony. A simple, one-line melody delicately sings over the top leaving the listener feeling soothed and slightly sentimental, centred in their own narrative as though this is their movie moment. This track teases the listener with what is yet to come – an ethereal exploration of the senses. I find it rare that an LP begins with such a gracefully gentle song yet still manages to stir curiosity and excitement.
The following track, ‘Souvenir’, flows organically from ‘Angel Hill’ as the piano maintains the sense of beauty. The minor key, however, juxtaposes the major key of the opening song, and consequently, there is a definite emotional shift. A slow beat has now been introduced and we are treated to the haunting vocals of Eva Abraham. Although they are simple – a sustained note followed by a descending glissando – they are exquisitely evocative. Through the use of repeated motifs and a deep baseline, ‘Souvenir’ is mysterious as it is sublime – a relic from a lost time.
The title of ‘Sorry Kids We Left You With a Black Sun’ reminds us uncomfortably of the fragile state of the world in which we live. Lol and Duncan have conjured up a dystopic future, where our children have unwillingly inherited a blackened sun and although their music remains ethereal, their message is blunt. Contrasting from the previous tracks, the piano has been replaced by a steady drumbeat and a psychedelic aura. Eva Abraham’s stunning vocals are reintroduced before she eerily repeats the titular phrase over some fervent wordless singing – it is a passionately spiritual experience as Lol and Duncan opt for a more emotive approach in conveying their powerful and urgent message.
The image of a dying world is continued in the title of the next track ‘Snow Ghosts’. It opens with a faster drumbeat and a reverberated guitar melody reminiscent of the Cocteau Twins, which precedes more breathy, wordless vocals from Eva Abraham as she glides over the ambient soundscape. Feeling slightly more optimistic in a major key, this song is the most energetic so far and the enchanting guitar keeps the music flowing. Although the word ‘ghosts’ implies death, there is definitely a light and playful character to this song, emphasised by the high hats and the captivating guitar. As Eva’s vocals are joined by a deeper voice, we wonder if perhaps these impish snow ghosts are inviting us to play with them and relish in the wonder.
‘Far Away (FRB)’ is an atmospheric 1 minute 21 seconds interim that gives you time to slightly recover from the sensory overload that was the previous four tracks. The reverberated notes that smudge together are accompanied by fragments of echoing, enigmatic speech. It is pretty yet haunting, implying that we are listening in on the remnants of a conversation that did not involve us.
With a jolt, we are fiercely moved on from the dream-like purgatory of ‘Far Away (FRB)’ and greeted with the dark, psyche-tinged guitar of ‘Who Will Stop The Robots’. The introduction is foreboding, almost sinister, until the strangely comforting sound of Eva Abraham washes over you in a brief reprieve. The entrance of the downtempo drum loop, however, restores the more ominous aura of the introduction until it is once again interrupted by the lighter respite. The song continues thusly, as a dialogue between the sinister and the hopeful, textured with ambient sounds and airy vocals.
‘The Gift’ utilises Eva Abraham’s vocals in a different way compared to the prior tracks. Whilst previously her wordless gliding has been seamlessly integrated into the music as a part of its fabric, in this teasingly short track her vocals are the focal point. With a minimal, chordal accompaniment, her voice is deeper, more mystifying, as she sings the echoey, haunting words “think of me before you go to sleep, all the secrets you keep.” This song is eerily intimate and nostalgically sad as you feel the melancholy deep within you – the reverberation of Eva’s voice binding us together in a collective trauma.
The next track carries us along our journey to reach a new emotional frontier. ‘Before You Sleep’ is a lullaby, rocking us into quietude before we fall asleep. The soft, continuous drumbeat is hypnotic, its occasional bass drum double beat mirroring a heartbeat – a familiar and soothing sound. Once again, Lol and Duncan has kept the accompaniment simple, using basic chords and a repeated one note motif in time to the rhythmic drumbeat. A melody consisting of three notes and played at various pitches floats over the steady heartbeat as the song is gradually layered with celestial sustained notes. The song is comforting and mystical at once as we are transported far away from it all.
Eva Abraham’s airy vocals return in ‘Tears’, once again integrated into the music as a part of its glittering and flowing fabric. There is a definite trip-hop influence within this track and Eva’s ghostly repetition of the word ‘tears’ reminds us of the collective sadness that has been woven throughout the LP so far. The softly played high hats of the drum loop and the distant glissandos conjures up a beautiful dream-world, filled with bitter-sweet fantasies. Although the vocals and instruments are harmonious in rhythm and tone, the song creates discord within.
The ambient fluidity of ‘Broken Blossoms’ is supported by the delicate vocals and the gentle chords of the guitar. This track is tenderly mystical as the vocals evoke images of a heavenly choir, an image that is enhanced by the introduction of the strings halfway through. However, whilst the beginning of the song is delightfully harmonious and peaceful, around the two-minute mark the song becomes more complex and layered in its texture, and a nuanced dissonance is created within the music. It is incredibly composed and does not result in any tension between the different voices, rather a trippier interpretation of what was previously heavenly. It is a reminder that we already have a paradise here on earth, but we have to fight for its survival. The contrast between the words ‘broken’ and ‘blossoms’ in the title emphasise this conflict between the fractured state of the world and its natural beauty.
The final track, ‘Lights Out (Return to Strawberry Fields)’, is a perfect ending to this transcendental album. We are once again reminded of Lol and Duncan’s deep love for film as this atmospheric track could easily be the outro of a powerful soundtrack. The piano’s single-line melody is simple yet beautiful and the rocking motif preserves the other-worldly aura that has been consistent throughout the LP. The gradual fade in and fade out of the music adds to the thoughtful nature as we are invited to stop and reflect on the poignant journey that we have just partaken whilst reminding us that our work as a collective is not yet over.
‘Who Will Stop The Robots’ is a beautifully melancholic piece of work, conveying a story of ecological wonder as well as ecological disaster. Lol Hammond’s and Duncan Forbes’s message runs strongly throughout the album although they are never once aggressive with it. Instead, there is passion and hope, which consequently turns listening to the album into a semi-spiritual experience. They are warning us of the damage we are causing and the broken world that we could leave behind whilst reminding us, through the magnificence, that it is definitely worth saving. This world is precious, and it is magical and Lol and Duncan have done an excellent job at capturing that marvel in this transcendental LP.
review by lucie walker
Who Will Stop The Robots? was released on Sparkle jar records on 24th July 2020
You can purchase it here
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