Free internet music: Access to Arasaka

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Apologies for the silence on 5:4 for the last couple of weeks, but i’ve been completely wiped out by ‘flu during this time, and have only started to feel relatively human again in the last day or so. Very belated then, i’m going to spend the remainder of January in the same way as i did in 2018, starting the new year by showing deference to the financial repercussions of the festive season, and teasing out some of the more interesting music that’s available online for no money whatsoever.

i’m going to begin with US musician Rob Lioy, who releases his music under a name derived from one of the megacorporations in role-playing game Cyberpunk 2020Access To Arasaka. It’s possible to speak quite broadly about the Access to Arasaka back catalogue due to the fact that Lioy’s musical approach has remained pretty consistent. It’s primary characteristic is a dichotomy between motion and stillness, the former articulated via energetic, often heavily-glitched beats placed emphatically in the foreground, the latter as layers of pitch and harmony that drift in the middle- and background as well as, crucially, bass drones that despite often being implied more than heard, nonetheless tend to feel omnipresent. It’s an archetypal ambient/electronica amalgam, but there are numerous ways that Lioy’s work stands apart from the large amount of music that explores this kind of conjunction.

It’s partly down to the music’s sheen: every Access to Arasaka track has the same kind of futuristic noir atmosphere that permeates Ridley Scott’s Blade Runner. As such, the music displays an array of opposites. Its ultra-modernity is matched by a gritty, even dirty demeanour; the beats in particular are often encrusted with digital grime and squelch such that they sound not so much new as a resurrected manifestation of something potentially much older. The liveliness of these beat patterns – which, when present, are almost always front and centre – is countered by the way Lioy grounds each track over a drone, resulting in music that inhabits a sharply defined and perhaps delimited environment, within which it remains somewhat tethered in place. One of the most beguiling opposites that characterises Access to Arasaka is the fanciful sense that, far from being actively composed, these might almost be compositions created by the computers themselves, as if banks of ancient data had begun burbling into life and sought to arrange their contents according to some kind of artificial intelligence. This arises in part from the austerity of Lioy’s aesthetic, which treats its elements of beats and bass with such aloof, monochrome intensity that it becomes almost fetishistic. Another way of putting it might be to say that Access to Arasaka is cold and unemotional, yet of course the way one responds to such music may well be the complete opposite. Read more

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Mixtape #53 : Best Albums of 2018

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Happy New Year everyone!

Many thanks to all of you who have read, followed, commented, shared, promoted and otherwise supported the blog during the previous year, most especially to my beloved band of Patrons. i’m starting 2019 in the usual way, with a new mixtape featuring something from each of the brilliant albums in my Best of 2018 list. Being such an eclectic list, the ‘narrative’ of this mixtape is one that unavoidably veers between quite wildly dissimilar styles and aesthetics, but to my ear that only makes it all the more interesting and fun.

40 tracks (well, technically 41: Jóhann Jóhannsson’s were short so i included two) that testify to and celebrate the range and scale of musical wonders created during 2018 – the full tracklisting is shown below, and links to buy each album can be found in the previous two days’ articles. As always, the mixtape can be downloaded or streamed. Read more

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Best Albums of 2018 (Part 2)

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i said yesterday how 2018 had been a very good year – just how good is encapsulated in these, the best of the best of the year’s albums, each one of which will do sublimely wonderful things to your ears. Read more

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Best Albums of 2018 (Part 1)

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Right, let’s cut to the chase: forget all those other narrow, limited, parochial and partisan Best Albums lists, here’s the only list you need: my round-up of the 40 albums that have charmed, enthralled, awed and amazed me the most during 2018. In case anyone was in any doubt, it’s been a very good year.

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The Dialogues: Lee Fraser

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i’m really happy to be able to present the next instalment in my series The Dialogues. This time i’m in conversation with UK composer Lee Fraser, whose music has been consistently blowing my mind for the last few years. The first album of his music, Dark Camber, was my best album of 2014, and his latest, Cor Unvers, released earlier this year, is just as impressive. Despite this, Fraser currently remains a relatively unknown figure, and my hope is that our Dialogue will go some way to shed more light on his music – which, both in terms of how it’s created and what it does, is seriously unlike the majority of electronic music regularly heard in most concert halls – and increase appreciation and understanding of his work. At time of writing, Fraser’s output is relatively small (a mere 10 compositions), but the imagination and power of these pieces reinforce my long-standing belief that it’s the composers who compose comparatively little – as opposed to churning out vast quantities on an endless production line – who invariably create by far the most compelling and potent music.

We got together at his home at the start of October, and i want to thank both Lee and his partner Caterina for their hospitality, and for allowing so much time for our discussion. i’m especially grateful to Lee for being prepared to talk at such length about his work; i hitherto knew almost nothing about his approach to composition, and it was fascinating to learn so much more about his musical outlook and methods. And if this Dialogue whets your appetite, his activities can be followed on his website, and to obtain one of the few remaining copies of each of his albums, Dark Camber is available via Bandcamp while Cor Unvers can be had from Discogs (best if you’re within the UK/Europe) and Ge-stell or Careful Catalog (outside Europe).

As usual, i’ve inserted numerous excerpts throughout our conversation to elucidate some of the points being discussed; a full list of these can be found below, together with the time in the audio when they occur. The Dialogue can be downloaded from the link below or streamed via Mixcloud. Read more

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Mixtape #52 : Christmas

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For the last of my 2018 monthly mixtapes, which i’ve been doing throughout 5:4‘s 10th anniversary year, i’ve gone seasonal and turned to the theme of Christmas. However, while that theme permeates all the choices i’ve made, the result is quite far from the kind of conventional upbeat playlist we’re using to hearing this time of year. i haven’t in any way set out be deliberately contrary, still less put something together that’s sarcastic or ‘alt Christmas’, but i’m conscious that this is a distinctly subdued and contemplative mixtape (something i’ve reflected in the cover artwork). Like compositions, mixtapes are very personal things, and i guess this collection of music is just what i particularly wanted to be spending time with at the moment.

No need for a breakdown of what’s included this time, i think the music pretty much speaks for itself. 60 minutes of mysterious, melancholic and magical music to provide perhaps a darker, deeper hue for the festive season. Here’s the tracklisting in full, together with links to obtain the music. As usual, the mixtape can be downloaded using the link below or streamed via MixCloud. Read more

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Moritz Eggert – Musica Viva Vol. 30

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It’s often not easy to put into words how or why a piece works, and in the case of Moritz Eggert, i’m literally starting this article not at all sure what on earth i’m going to say. The latest Musica Viva disc on the NEOS label – Vol. 30, which testifies to NEOS’ incredible ongoing commitment to avant-garde music – is dedicated to two of Eggert’s works, performed by the Bavarian Radio Symphony Orchestra: Masse, the seventh in his ‘Number Nine’ series, and Muzak, a piece for voice and orchestra dedicated to the late David Bowie. Having written recently about one contemporary response to muzak, it’s interesting to encounter another one, although straight away there are some issues with that title and its implied accompanying conceit.

It’s not actually about muzak. Not even remotely. As a musical entity, muzak isn’t bound within the limits of one particular genre. Instead, its primary characteristic is to be an especially light, anodyne and inconspicuous version of whatever stylistic manner is desired, usually some form of pop, rock or jazz. The distinction between the original musical form – the ‘parent’ – and the muzak rendition of it – the ‘child’ or, better still, the ‘bastard’ – is an essential one: the former seeks active attention, the latter requires passive (even subliminal) acknowledgement. The main problem with Eggert’s Muzak is that this distinction is essentially lost. The piece, conducted here by David Robertson, is constructed as a collage of generic tropes that process past as if on a conveyor belt, snippets and fragments that allude to various kinds of what Eggert summarises as “commercial music”. Perhaps inevitably, jump-cut juxtapositions between sharply dissimilar idioms is amusing, and this is evidently no accident. The reality that the piece has a deliberately comic sensibility is reinforced in part by the often hilarious delivery with which Eggert himself performs the role of the solo voice, singing, crooning and otherwise articulating a stream of allusions to the “clichés or platitudes of pop music” (the composer’s words). One especially funny section takes an extended pot-shot at the arch-nemesis of good taste André Rieu, references to his name causing Eggert’s voice to become quietly apoplectic, letting out a collection of barely-repressed f-bombs. Read more

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