If there’s a location for Fisher Turner’s work it might be somewhere near the zone defined by renowned trumpet player John Hassell as the Fourth World - a place where cultures and techniques mix without compromise. To include Fisher Turner, however, the borders would have to be open enough to accommodate The Aphex Twin, Terry Riley, Black Dog, John Lydon, Howie B, Harold Budd, Miles Davis, The Prodigy, Eno and a restless host of cor anglais wielders and teletext machine tapers.
Possibly the least didactic musician on the planet, Fisher Turner asks questions and opens doors at every turn. He seems equally fascinated by harmony and dissonance.
With decades worth of hands on experience to draw from, SFT is almost unique in having gone from trite pop to extreme sound freakery and out the other side into a mesmerising field of his own. From 1996’s “Shwarma” - sound plundered from around the world and loops by Wire’s Bruce Gilbert - to the de-funked funk and discombobulating accordions of 1999’s “Oh Venus” is a thread that zig zags crazily, but never snaps.
SFT: Eno’s tangentality; Lydon’s fuck you DIY; and Le Corbusier’s ability to evoke ‘the play of masses, brought together in light’. That’s a long way to have come for a teen pop idol novelty.
Not remotely dispensable. Play him quiet and loud.