The majority of new releases to have come my way recently have featured music for ensemble and/or orchestral forces, each disc of which is usually devoted to the work of a single composer. The opportunity to scrutinise an individual’s work in great depth at times turns out to be something of a mixed blessing. This is definitely the case with NMC’s recent disc of Helen Grime‘s music, Night Songs. i’ve enjoyed and written about Grime’s work on a number of occasions, but this album—which, helpfully, arranges its contents in chronological order—contextualises those works such that rather glaring problems instantly emerge. Chief of them all is the extreme narrowness of Grime’s compositional language, with regular recourse to precisely the same mannerisms and tropes in pretty much every piece. Take a drawn-out melodic line, put it mid-register and not too loud, adorn it with sharp staccato notes (woodwind or pizzicato strings) and far, far beneath it have grumbling deep bass phrases. This kind of thing has worked for Oliver Knussen, and on the basis of this disc, Grime seems to feel compelled to introduce this same device into everything she writes. It’s an irritation that gets compounded by the timidity of Grime’s orchestral writing; not merely her safe, familiar use of the instruments, it’s the lack of anything approximating a release, a true letting-go of control, that makes the majority of the seven works on this disc feel so thoroughly grounded. Striving for equilibrium doesn’t require one to be so equivocal. Read more
Turning to electronic music, i want to highlight several recent releases from the Entr’acte label. Founded in 1999 in London but today based in Antwerp, Entr’acte’s output has always made an impression long before any of the music has been heard. Their approach, not unique but certainly unusual among labels seeking to promote new music, has always been to present each release with essentially generic design work and packaging, and a bare minimum of supplementary text. For years, the CDs were actually contained within hermetically sealed packets that required cutting open to access the content; today, they come either in small cardboard wallets emblazoned with their catalogue number or in digipacks with a daub of colour. For all its aloof utilitarianism, there’s undoubtedly something of a pose being struck by Entr’acte, but the way it rejects conventional notions of consumer appeal is an extremely positive thing. Composers are supremely gifted at getting in the way of their own music, in their efforts to seek to demystify its intangibility with tracts of programme notes and contextual disjecta membra. Entr’acte clearly takes the view that such verbiage is a crutch required by neither composer nor audience; a courageous view, certainly, but one supremely vindicated by the quality of their diverse catalogue.
The 5:4 doormat has been inundated with a stream of new releases falling onto it through the last few weeks, many of which are outstanding and deserve fuller treatment in due course—but to at least get the ball rolling, here’s an overview of some of the best, starting with chamber music. Read more
Have you heard of Fuzzy? No, i hadn’t either – so i was pleased to explore a new compilation of music by the enigmatically-monikered Danish composer (otherwise known as Jens Vilhelm Pedersen), recently released by DaCapo. Chimes of Memory presents five works, most of them pretty hefty & which together indicate a composer of diverse interests & decidedly playful outlook. Electronics feature prominently, yet the longest piece is his 30-minute Notre-Dame Trilogy for solo organ, completed in 2006. Fuzzy’s approach to the instrument is clearly rooted in the 20th century French organ tradition but this doesn’t so much fetter the music as provide a frame of reference for it to circle around, bash against &, occasionally, flee from. As such, although regimented within highly compartmentalised structures, Fuzzy’s irrepressible humour & sense of fun keeps the music from being all about an ongoing sense of formal interconnectedness. Put simply, intuition & whim seem to have led the way, & despite some lurches into quasi-Baroque figurations & one or two rather obvious melodic homages to Dupré & Tournemire, Fuzzy more than stamps his own mark on this most unwieldy of instruments, only occasionally using it at full blast. Electronics are clearly close to Fuzzy’s heart, though, often evocative to the point of resembling TV/movie soundtracks. In a piece like B-Movies, for harp & electronics, it’s quite deliberate, the soloist acting as a foil to the electronic scene-shifting around it. But Tre tilbageblik for bass saxophone & electronics clarifies that a dramatic sensibility—& a highly accessible one at that—is an essential part of Fuzzy’s language. Read more
Among the swathe of new releases currently jostling around the 5:4 jukebox, i want to start by flagging up two interesting recent releases, both serendipitous discoveries from the panning-for-gold approach to listening that is my modus operandi these days. First is Duologue, a five-piece from London whose latest EP, Memex, has initiated a host of earworms that are continuing to burrow around my subconscious at the moment. It’s an obvious place to begin, but their sound has more than a little to do with Radiohead, & not simply due to singer Tim Digby-Bell’s ululating vocals that often sound strikingly like a less defocussed Thom Yorke. Their songs share Radiohead’s interest in playing with the multiplicity of conventions associated with rock & pop. Thus, the EP’s title track melds dream pop & autotune to strange effect, crumbling into a hard-edged coda, while ‘Operator’ bumbles along at a fair old lick, with some nicely-judged harmonic shifts in a pair of softer episodes that break up the momentum—yet overall carrying a sense of ecstatic stasis, made manifest in the song’s energetic dancefloor-infused conclusion. But third track ‘Traps’ stands out way beyond either of these, evoking music from an earlier time while conjuring up a sense of balmy humidity; this is checked by the song’s regular structural shifts where major & minor tonality are superimposed (such a simple use of dissonance but still more-or-less unheard of in music of this kind) to delicious effect. Having also spent time with the group’s first album, Song & Dance (which i also warmly recommend), ‘Traps’ is definitely their strongest song to date, mature & subtle. The EP is available in physical formats (CD/vinyl) direct from the band & in digital from all the usual places, plus you can stream it below. Read more
Having recently examined the more interesting soloistic & orchestral new releases, it’s time to give an overview of the best of the rest, music that doesn’t fit quite so easily into nice categories. First, released today on the Innova label, is Sunken Cathedral, the new album from Korean-American composer & singer Bora Yoon. Described as “a sonic journey through the chambers of subconscious”, the collection of songs that comprise Sunken Cathedral are a testament to Yoon’s fascination with sound design, married to a vocal approach that evokes a kind of ecstatic mysticism (or should that be mystical ecstasy?). It’s a quality writ large at the outset, refitting Hildegard of Bingen into a soft ambient driftscape, but throughout the album it reveals itself in increasingly subtle & unexpected ways. Yoon’s ear is clearly very fine-tuned; a dreamy setting of the Latin In Paradisum text is encased in the sounds of a scrawling pen, dogs barking, gentle bow tappings on a viola, jangling chimes, the rustling of Bible pages, a pair of Buddha machines & — my favourite — “subwoofing spoons”. It’s heady, even intoxicating stuff, with absolutely no sense of novelty to any of it; each sound, literally, rings true.
Alongside the collection of impressive soloistic new releases i recently reviewed, several new CDs of orchestral & ensemble music have emerged lately. One of the most surprising, from an aesthetic perspective, is the latest disc of Mark-Anthony Turnage‘s music released by LSO Live. The surprise is encapsulated in the titles of the two works on the CD, Speranza & From the Wreckage, both titles that are inherently optimistic in outlook. For a composer who has hitherto created countless works from mining deep seams of despair & desolation, this is quite the volte face, but as Turnage himself commented prior to Speranza‘s first performance last year, it’s all too easy self-indulgently to “wallow in misery & darkness”. That’s not to suggest Turnage’s tone in these works is chipper, exactly, but there is, particularly in parts of From the Wreckage, a spring in the music’s step of a thoroughly different kind from the grotesque forms of bounce & stumble more common in his output. Beyond this, there’s a quite deliberate move towards that most disquieting concept for the avant garde, accessibility. From the Wreckage—a work that’s by no means as blasted as its title suggests—conjures up majestic sweeping vistas, & even when it lurches into more violent territory, it’s more obstreperous than angry, smarting rather than wounded. Read more