Njoku hailing from North-West London described the space as a “hidden gem”, choosing to stray outside the usual South, South East, or East London focus.
The venue is like a sprawling estate; combination restaurant, art gallery and performance space. The playback was held in what could have previously been a Victorian antechamber, now modernised, with a soundsystem and ornate chandelier and 2 giant sash windows. The chairs in the room were modern and stylish, brown tones matching the colour palette of the space, facing towards these windows, through which one could watch the swaying trees in the garden.
The setting felt carefully considered. With no distractions or elaborate staging, instead a space similar to a front room, encouraging a deeper, more familiar listening. This relaxed atmosphere allowed for a deeper, more appreciative focus on the music.
It was an intimate gathering, as we sat facing Njoku, who introduced the new EP and its background. Before pressing play, he provided some context. Describing it as “A 4 track expansive mix of compositions through improvisation, the title has several meanings, formed through different frameworks and perspectives.
On one level, it reflects the burnout Njoku has experienced as an artist feeling, in his words, “burnt to a crisp” by life. It also draws on the image of self-immolation as an act of protest, exploring how both personal and collective despondency and rage can resemble the same consuming fire. Yet the title also refers to renewal, as the project embraces extended improvisation over a string of six live performances. Njoku described feeling metaphorically set alight once again, this time with passion rather than exhaustion.
That creative renewal formed the foundation of the EP. Taking his carefully developed live setup to Big Jelly Studios in Ramsgate, he recorded a series of extended improvised performances that would be later shaped into the four compositions heard on ‘A WORLD OF BODIES ON FIRE’.
The record itself is intricate and contemplative, and doesn’t seem to follow exactly the same mood between tracks. It begins with the title track, a bass heavy feature with dramatic, rolling synths (I could really feel the bass in my bones, with the sub of the system directly behind me). The track demands your attention, with slight unease.
Track 2, ‘STREAMS AND STORMS’, is my favorite. Minimalistic, mantra-like piano motifs sit upon the solid foundation of a bassline. As the track progresses, more piano lines and textures enter the fold and settle in layers, a sonic experience with a very apt title.
‘THE QUIET CHAOS OF PLAYING IT SAFE’ is the longest piece, at just over 9 minutes, and as Njoku later revealed his favourite to play live. It begins with haunting synth lines, and evolves into a slow, drum driven piece, with much of the drama as the first. ‘ETUDE NO.1’ is the closing statement, a short, somber piano etude, which allows the listener space to reflect and digest the entire proceedings. It is overall a driven and dynamic piece, with elements of repetition, and a fusion of classical and electronic sonics.
The improvisational nature of the EP lent me to imagine that the evening was more akin to an intimate live gig, reflecting the spontaneity of the record. The release itself was recorded over one day at Big Jelly Studios, with minimal arranging and editing in post production. This improvisational feel is retained in the recording, the live flair is captured, and it now seems that Njoku was double present in the room, building the music around us in real time, similar to his Conjuring series.
After the playback, Njoku answered some questions about the album’s production, style, inspirations, and some of the more unique elements of each song. It could also be described as an ‘ode to the open road’, and some of the more tiresome elements of being a touring musician.
Before the listening party commenced, amongst the bamboo in Ladbrooke Hall’s garden, Tony graciously offered some of his time to ask some of our questions about the EP, improvisation, artist recommendations and his reflections on Conjuring four editions in.
[Interview coming soon]
