Christopher Taylor, also known by his alias SOHN, is the London producer who has now taken his sound around the world in aid of recording something new. Initially from London, he moved to Vienna for his debut, Tremors, which was released back in 2015. Now on his sophomore album, he has traded the cold of Europe for the warmth of Los Angeles.
Returning to his tradition of nocturnal recording sessions, SOHN was up until mid-morning for most nights during his month-long stint of writing and recording Rennen. The album, which translates from German to the verb ‘to run’ strips back some of the frivolities that littered Tremors and places the spotlight upon his vocals and melodies. The restraint in technique leads for something focused and precise whilst maintaining strength in the overall outcome.
The album opener and latest single to be released from the LP, ‘Hard Liquor’ is a delicate introduction to the album. Opening with minimalism, the song warps and expands into something much bigger. Gospel sounding samples are introduced in the chorus giving the song a wide birth as you begin to engage with it. ‘Conrad’ maintains the tempo set by the previous track, it carries a sickly groove in its movement with Taylor’s ability to project focus picking up on the rhythm section this time around.
The gutsy rhythm of R&B wreaks throughout ‘Signal’, something that stands testament as to why he has previously co-written songs for the likes of Rihanna. ‘Dead Wrong’ is a dense electronic track that plays on off-kilter rhythm sections – something that shouldn’t technically work is crafted by SOHN to sound incredibly innovative. The song similarly demonstrates the penchant for lyricism that Taylor holds, opting to analyse the importance of trusting instincts in this case: “This train it don’t leave twice”.
SOHN stamps his own style upon the blueprint that was crafted by the likes of Jamie xx and James Blake in ‘Primary’. The track is a melancholic ballad, once again proving that restraint is often the best key to success when writing songs. Lyrically, the track picks at the US presidential election: “Nobody seems able to make a change” – it is a summarising comment that expresses the world’s anxiety at having Trump in charge but, similarly, the lack of ability that his rival Clinton possessed.
The title track is a mere stone’s throw from the likes of James Vincent McMorrow, another artist who manages to pitch the cleanliness of his own voice against sparse musical backdrops. This track is slightly more sombre and delicate in comparison to others on the album, it carries a certain poignancy in its delivery that is horrifically isolating: “I’m sorry but I’ve given up”.
‘Falling’ opens with a pulsating, almost motorik beat. It thuds whilst Taylor’s voice eloquently glazes over the top, cutting around what develops into loose snares and by the end an all out electronic assault. It certainly lends itself to the busier side of production but never gets too overbearing.
As you excel into the closing chapter of Rennen, SOHN doesn’t lose any focus whatsoever. ‘Falling’ carries the throbbing electronic that was given as a taster earlier on in the album whereas ‘Still Waters’ throws its arms open to gloopy R&B. Layers of lucid electronica melt into Taylor’s voice with throbs of a horn section that can never quite breakthrough Taylor’s production.
‘Harbour’ closes what has been an epic journey through Taylor’s delicacies and electronic proficiency. Fittingly titled ‘Harbour’, it certainly feels that Rennen finds appropriate docking here. The track lures you in through its atmospheric textures before erupting into African rhythms and erratic melodies. The track also proves that Taylor is restless in his ambition, snubbing the chance to end the album on a quiet note.
Don’t be surprised if we hear something new from SOHN soon enough, ‘Harbour’ certainly feels although it asks more questions than it answers. Taylor’s turning to textures on Rennen is a mature new direction for the producer. Where his next LP will take us is anyone’s guess, don’t expect him to stay in California for it either, it seems he’s already set to be on the move.
Tom Churchill
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