Inspector Fogg | S/T
Panurus Productions (DL)
This is the debut of UK musician/actor Wayne Lancaster as Inspector Fogg (based on his British comedy/horror series). The album is split into ten mostly short tracks (all under five mins), except the opening, Fuyu which runs for seven minutes. From the outset the atmosphere is chill with a wavering drone synth that is soft, melancholic in tone, and outstretched.
There are tiny unplugged frequencies emitting amid the soft soundscape, and this easily could drop behind a dramatic scene of bewilderment and revelation. Two twisted chords converge as other blurry, poppy synths dance on The View Across The River, in a Philip Glass-like redux. It’s all so dreamy, like looking through a smoky glassine filter. And running through Lancaster’s gauzy fantasy are meditative drones embedded with a host of lil’ mysteries and Strange Tales.
The setting is one of impressions and clues, quietude and freeflowing stasis – countered by other determined soundtrack-styled shorts like Lamb To The Slaughter. Here the piano riff vs. the forward-motion quasi techno play against each other in a bit of whodunnit. It’s a curveball in an otherwise very moderated batch of vignettes. Though I haven’t seen the b/w Inspector Fogg series (yet), the pulsation of Clive’s Theme is a clear throwback to the cinematic seventies. What may seem incidental in terms of acoustics, once removed from its filmic form, has its own reference points depending on the visual scope of its listener.
I can appreciate the quick little electronic nods to early New Wave on Oil On The Road. as well as the pensive recital keys of Case Closed, that actually turn into quite a lovely melodic closure. My guess is though this may be inspired by David Lynch and Scooby Doo, one might hear references back to Doctor Who, the 80’s soundtracks of Tangerine Dream and The KLF. There’s a sense of the detached, slightly clinical, slightly twisted – but all in good fun.