Announcements

New CD coming soon: Dither • Pother • Roil

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In a week’s time, a new CD of my electronic music will be released, titled Dither • Pother • Roil. It contains three distinct but related pieces, which began life in a series of improvisations made in early 2008. Somewhat inexplicably, i promptly lost the recordings and forgot all about them until the start of this year; between February and October i then extensively reworked and developed them into their final, very elaborate forms, which together last around 49 minutes. Here’s a smidgeon from the blurb-spiel:

There are ways in which this trio of works relates to and draws upon both the techniques and sentiments of my earlier electronic music. There are echoes of the shifting abstractions of the Simulated Music cycle, as well as the large-scale sculptural elementalism heard in the Ceiling stared at me but i beheld only the Stars and ‘Icon’, the central panel in Triptych, May/July 2009. But above all, Dither, Pother and Roil explore (for me) new methods and an expanded mode of expression.

Dither was finished first, and is concerned primarily with material that writhes and roars at its own prevarication. Here’s part II:

Pother continues the thread established in Dither, becoming increasingly fraught and portentous. This is part I:

Roil was the last to be completed, and is the longest and most complex of the three. A multi-layered noisescape, Roil is by far the most unrestrained piece i have ever composed, whipping up elements of Dither and Pother into a clamorous torrent of frenzied outrage. Here’s part IV:

The accompanying artwork explores details from a recent painting by the young American artist Claire Uhle. Titled ‘Well, everything’s moving so slow in this life time.’, the painting goes a long way to capturing everything that Dither, Pother and Roil are seeking to convey (click for high-res).

The CD comes out on 20 November in a numbered limited edition of 50 copies. For more information and to order a copy, click here. A digital download version will also be available.

In other news, my previous CD Night Liminal is now available as a digital download as well. There are also a few CDs left; details about both can be found here and here.

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Coming soon: Scott Walker’s Bish Bosch

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In one of the most exciting teasers i’ve seen in a long while, Scott Walker has released a video of snippets from his forthcoming album, Bish Bosch. It includes clips from a number of tracks, bearing such tantalising titles as ‘See You Don’t Bump His Head’, ‘Tar’, ‘Dimple’, ‘Corps de Blah’, ‘Phrasing’ and ‘Epizootics!’ (the complete tracklist is here). The 4-minute video brings to mind scenes from the film 30 Century Man, showing something of the bewildering array of instruments and techniques integral to Walker’s painstaking compositional process. There aren’t many musicians who can bring together such extremes of acoustic and electronic phenomena and make them seem not just suited to each other but downright necessary, but on the strength of this all-too-brief trailer, Bish Bosch is going to do just that. The question one couldn’t help thinking in the devastating wake of 2006’s The Drift was “What on earth will Scott Walker be able to come up with to follow this?”. On 3 December, we’ll all get to find out.

In the meantime, there’s a Bish Bosch mini-site to keep an eye on, and some additional info on the 4AD website.

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New CD out today – Night Liminal

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i’m delighted to announce that today sees the release of my latest CD, Night Liminal. Here’s a bit of blurb from the spiel:

For the last four years, my electronic music has been to a large extent founded upon noise. Whether sculpting large, primordial shapes from it (Triptych, May/July 2009), pitting it against pitched material (the Ceiling stared at me but i beheld only the Stars) or allowing it to do its own thing (Simulated Music), noise has been the principal vehicle for my electronic music. Even in my most gentle work (The Stuff of Memories), noise has been present, colouring and caking the music in sonic detritus.

Night Liminal is different. Lasting a little under forty minutes, the work is a stark contrast to these intense noisescapes, signalling both a return to and a reclamation of my æsthetic roots, embracing the quietude of ambient music. For the first time, the material is gentle, soft-edged and peaceful—even relaxing. That, at least, is its first impression; but the work’s inspiration is more subtle and ambivalent than that. Night Liminal is partly inspired by the ancient monastic service of Compline, which takes place as day is ending. Both the service and its setting confront head-on the perils heralded by twilight.

Being in a sacred space at dusk is a profound and paradoxical experience, comforting yet unsettling. One is caught between light and darkness, between the vast expanse of tradition and the contemporary mystery of the moment. The night can be a dangerous and uncharted place; my hope is that this music can become an integral part of the gloaming, teasing out and resonating with both its delights and its uncertainties in a gentle act of provocation and peace.

Provocation may seem incongruous in the context of ambient music, but Night Liminal’s soft, slow-moving textures echo this; warm and melodic, sometimes dark and disquieting, they afford the listener a dual experience of rest and reflection.

Night Liminal is dedicated to the memory of Jehan Alain.

As usual, the CD is a limited edition of 50 numbered copies; to order a copy, go here.

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Fermata

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i’m not around much at the moment, so there’ll be a short general pause on 5:4. The Proms articles will continue when i’m back, but in the meantime, i’ve set up polls for the recent Proms premières, so the votes can keep coming in. The dedicated Proms 2012 polls page can be found here—get voting!

Proms 2012: looking forward

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Having largely ignored the hype and hullabaloo surrounding the launch of this year’s Proms season, my concert guide arrived this morning and so i’ve finally taken a proper look at what lies ahead; it promises to be an interesting and, at times, exciting experience. Once again the season will begin with a new work, this time by Mark-Anthony Turnage, and i for one can only hope he’s not been listening to any R‘n’B lately. Beyond this, the number of world premières is considerable, and i’ll be particularly looking forward to those by Benedict Mason, Charlotte Bray, Elaine Agnew, Bob Chilcott, and Simon Bainbridge; new works by Fung Lam, Julian Philips, Nicole Lizée, Thea Musgrave, James MacMillan, Tim Garland, Brian Elias, Gavin Higgins, Gavin Bryars, Helen Grime, Eric Whitacre and Mark Simpson will also be receiving their first performances. A diverse list indeed, but it’s the UK premières i’m more excited about, especially the works by Kaija Saariaho, Per Nørgård, Harrison Birtwistle, Olga Neuwirth and Michael Finnissy. In fact, the concert featuring Finnissy’s Piano Concerto No. 2, given by the Britten Sinfonia and also including the Birtwistle and Elias premières, plus Brian Ferneyhough’s Prometheus, may just turn out to be the highlight of the whole season.

As usual, all these premières will be featured on 5:4, but aside from the new pieces Daniel Barenboim will be presenting six works by Pierre Boulez during the first half of the season (as a curious counterpart to his Beethoven symphony series), and the centenary of John Cage’s birth will be marked with a large-scale concert in his honour, including that most excellent of choirs, EXAUDI. Having pulled out all the stops last year in resurrecting Havergal Brian’s Gothic Symphony, Proms director Roger Wright has gone even further this year with performances of two of the largest works ever written, BerliozRequiem and Schoenberg‘s ravishing Gurrelieder (the cost of this year’s season must be truly eye-watering).

So, lots to look forward to, and it all kicks off on 13 July.

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Interrobang – works by Elliott Carter, Paul Dolden, Javier Álvarez & more

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Anyone in the Birmingham area tomorrow night (Monday 13th) might be interested in the next concert my ensemble, Interrobang, is giving. The concert will feature a number of works by established composers, intermingled with four pieces by students and graduates of the Birmingham Conservatoire (where Interrobang is based). It includes a new work of my own, composed for BCMG at the end of the last year and explored in a workshop with them in the spring, but not yet performed in public. Here’s the programme:

Etelka Nyilasi – Visions in the Northern Sky for 6 players
Simon Cummings – Intense quick dream of sentimental groups with people of all possible characters amidst all possible appearances for string sextet (World Première)
Ryan Latimer – The Canon of Medicine for piano trio (World Première)
Elliott Carter – Scrivo in Vento for solo flute
Paul Dolden – In a Bed Where the Moon was Sweating. Resonance #1 for clarinet & tape (UK Première)
Veleka Algar – From Silence for string sextet (World Première)
Javier Álvarez – Temazcal for maracas & tape

The concert starts at 7.30pm and once again takes place in the Conservatoire’s Recital Hall. A map is below; those with GPS should punch in the postcode B3 3HG. If any 5:4 readers are present, do make yourselves known to me during the interval or afterward—would be great to see you!


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New Dead Pilots piano mix

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Dan Gregory, who runs the splendid label Dead Pilot Records, has been kind enough to include my little piano piece In Paradisum on his latest online mix. While i don’t know most of the other names included in the mix, it’s nice to be in the company of Daniel W J McKenzie, better known by his pseudonym, Ekca Liena.

“Piano Series #3” can be streamed via MixCloud, here

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