CD/Digital releases

Music of a dark and difficult pathology: Tansy Davies – Spine

Posted on by 5:4 in CD/Digital releases | Leave a comment

Anyone with even a mild interest in contemporary music can’t have failed to encounter the music of Tansy Davies. She’s clearly going through something of a vogue at the moment, the high-profile commissions (including the Proms and King’s College, Cambridge) and performances being complemented more recently by CD releases of her music. Last year saw Troubairitz, a disc by the impressive Azalea ensemble that focussed on several of her more well-known works, including neon and Salt Box. Now NMC Recordings has brought out Spine, a disc that presents more ensemble works alongside a number of chamber and solo pieces. The popularity of Tansy’s music is perhaps easy to understand; stylistically speaking, her work is accessible, eschewing both the trappings and the vernacular associated with the avant-garde. Immediacy and clarity seem to be important and significant aspects of her music, qualities that perhaps originate in her prog-rock youth, and which clearly go down well with audiences and ensembles alike. Spine is a more impressive disc than Troubairitz, which painted a somewhat one-dimensional portrait of the composer. As a whole, the scope of the nine works featured on this disc feels more expansive and thoughtful, more mature. There’s a demonstrable effort in most of the pieces to root or at least connect modernity to concepts, practices and objects from an earlier time, such as shamanism (Iris), ritualism (Dark Ground), fossils (spine) as well as existing musical material (make black white; Loopholes and Lynchpins). The result is music of a dark and difficult pathology. Read more

Tags: , ,

Attraction & resistance: NMC Debut Discs – music by Huw Watkins, Dai Fujikura and Sam Hayden

Posted on by 5:4 in CD/Digital releases | 1 Comment

i don’t think it’s hyperbole to describe NMC Recordings as one of the bastions of contemporary music in the UK. For as long as i’ve been listening to new music (more than two decades now), NMC’s output has been a dependable point of continuity, and many of their releases have become both landmarks and benchmarks in the history of late 20th- and early 21st century British music. So it’s exciting to see NMC embarking on a bold new initiative: Debut Discs, a new series of 12 recordings to be released over the next four years, exploring the music of “emerging British composers”, whose music is currently under-represented on CD. Launched last month, the first three discs are devoted to the music of Dai Fujikura, Sam Hayden and Huw Watkins. They make for a stimulating and highly contrasting trio, one that resists and attracts in roughly equal measure.

Huw Watkins’ music is emphatically the latter, being by far the most accessible of the three. He opts for a nostalgic brand of music, earnest and lyrical, harking back to an earlier time. There’s nothing pastiche about what he does, and yet it seems entirely right to describe the five pieces on his disc as “neo-romantic”. Melody presides, and while Watkins affords them the opportunity for considerable variety and invention, there’s the unshakeable feeling that one’s heard all this before. The skill with which the pieces are put together can hardly be criticised—there’s not a note out of place, and Watkins’ sense of drama is strong—but the shadows of their progenitors are often so potent as to be a fatal distraction. The piano music—represented here in one of Watkins’ earlier works, the Four Spencer Pieces, played with consummate skill by the composer—manages to loosen its bonds to the past, but they’re the exception on an album that’s otherwise frustratingly over-familiar and straight-laced.

Caught betwixt the extremes of attraction and resistance is the music of Dai Fujikura (born in Osaka but resident in England since his mid-teens). The forthright independence of Fujikura’s compositional manner is striking, eschewing the styles and mannerisms of his birthplace; indeed, “Everytime I see some ‘Japanesenesses’ in my own score when I am composing, I delete them”. The five pieces on his disc comprise three substantial ensemble works and two brief solos, all very different in nature and instrumentation. What unites them is a fresh relationship with lyricism, one that allows Fujikura the possibility to go where his ideas take him, where unexpected episodes or shifts feel entirely comfortable (a quality he shares with Takemitsu, but for entirely his own reasons). The sudden bassoon cadenza in Secret Forest is an almost shockingly fragile hiatus in what is otherwise a dense and homogeneous work, dominated by huge bursts of string activity, while the latter half of Phantom Pulse somehow abruptly navigates from percussive bombast to a cloud of resonant lacework with no ill effects. But it’s the closing work, Okeanos, that shows off Fujikura’s skill best, the introduction of sho and koto contributing in no small part to its deeply hypnotic (and at times gorgeous) five movements.

Discussion of Sam Hayden’s music has hitherto been dogged by references to its apparent inaccessibility. But his music requires no apologia; it’s true that it is both powerfully demonstrative and utterly individual, but if ever there was a perfect invitation to the listener to sit up and engage with something on its own, genuinely new, terms, this is it. Everything about these four ensemble pieces (plus an electroacoustic chamber work as a bonus download) cries out its contemporary credentials, from the compositional techniques Hayden uses (brief descriptions of which double as programme notes) to the titles of the works, and there are times when it almost feels like a kind of aesthetic clipping is happening. But overall, it’s an invigorating kind of resistance, and gazing into the textures and structures Hayden creates is simultaneously disorienting and captivating. It’s not without its problems; in misguided, the intended momentum seems to short circuit under the strain of its stop-start material, and both system/error and presence/absence come across less as immersive encounters than (undeniably impressive) spectator sports. However, in the 20-minute Die Modularitäten, Hayden finds a perfect synthesis of his techniques and outlook; its polyphony is highly dramatic and deeply engaging, less a series of episodes than a large, unfolding narrative with a plethora of twists en route; and the moments when electronics lurk, barely audible, at the periphery are pure magic. Bonus work schismatics is also outstanding, the solo violin establishing a dialogue with electronics that one doesn’t just follow, but is pulled right into its epicentre.

All three releases are available on CD everywhere, and on download from the NMC shop.

Tags: , , , ,

No small triumph: Carla Rees & Scott Miller – Devices and Desires

Posted on by 5:4 in CD/Digital releases | 2 Comments

Many’s the time in the last few years when, both in the concert hall and at home, i’ve found myself listening to yet more music for random-acoustic-instrument plus electronics—and been absolutely bored off my face. The quest for novelty seems to have ruled the electroacoustic roost for years and years, dominated by an approach to music-making that largely consists of: instrumentalist plays some material; computer (i.e. Max/MSP patch) does something with that material; instrumentalist responds to the computer; and back and forth until one of them decides to stop. Often the nature of the relationship between player and computer, as well as a sense of structural coherence and inner logic, are both fuzzy and ill-defined, and while works like this may perhaps have a skin-deep beauty that’s briefly beguiling, ephemerality remains their strongest characteristic.

It’s no small triumph, then, that the new CD from Carla Rees and Scott Miller, exploring music for flute and electronics, is so exciting and memorable. The title, Devices and Desires, is allusive—not a million miles from Ligeti’s ‘Clocks and Clouds’—evoking cool and hot impulses, a juxtaposition of measured rationality with unpredictable whim. From this melting pot of head and heart, Rees and Miller have created six pieces that each occupy a different position on the composed/improvised continuum, including “a fully composed work …, structured improvisations … and free improvisations … All of the electronic sound heard on the CD is the result of processing the sound of the flute, whether in real-time, from a sample taken earlier in the performance, or from a recording made years before we made the recording” (from Scott Miller’s programme notes). Both flute and computer fall outside convention; Miller uses the Kyma X sound design environment, while Rees uses a Kingma System C flute, an instrument designed to enable quartertones to be easily played. These instruments were brought together in “an inspired three-hour recording session”, and the result is Devices and Desires.
Read more

Tags: , , ,

20 years on: The Orb – Blue Room

Posted on by 5:4 in CD/Digital releases, Retrospectives | 6 Comments

Twenty years ago today, The Orb released one of their finest and most legendary creations, the single Blue Room. It became famous immediately due to its length; at 39’58”, it was tantalisingly close to the durational limit set by Gallup, who ran the UK charts, which classified anything of 40 minutes or more as an album. Not surprisingly, therefore, Blue Room instantly became the longest single in UK chart history, which it remains to this day. But Blue Room deserves to be remembered and celebrated most for its embodiment of The Orb’s unique approach to music-making, seamlessly integrating the ostensibly incongruous and hitherto distant idioms of dub and ambient, garnished with elements of minimalism, house and psychedelia.

The track took five months to create, The Orb’s Alex Paterson and Thrash joined by the renowned Steve Hillage and Jah Wobble, whose guitar and bass contributions sat alongside synth from Miquette Giraudy (Hillage’s partner and bandmate from their days as Gong), and a vocal riff by Aisha, sampled from her 1986 track ‘The Creator’. Combined with the ambient dub electronics of Paterson and Thrash, these were the raw elements from which Blue Room was created. The track’s title, incidentally, is a reference to a hangar located at the Wright-Patterson Air Force Base in Ohio, which certain conspiracy theorists have convinced themselves houses “extraterrestrial spacecraft and bodies“; this theme would be taken further on The Orb’s second album, U.F.Orb, which includes a drastically shortened version of Blue Room. Read more

Tags: , ,

Giving voice to the indescribable: Aaron Cassidy – The Crutch of Memory

Posted on by 5:4 in CD/Digital releases, Featured Artists | 7 Comments

There are times when a composer wins you over instantly, the cogency of their arguments captured in a transparent marriage of sound and idea that’s instantly familiar and welcoming. This has emphatically not been my experience with the music of Aaron Cassidy. Over the last few years, i’ve oscillated around Cassidy’s music with the regularity of a comet, never quite pulled into orbit (or should that be a collision?), but constantly drawn back nonetheless. With the release, a few months ago, of the first CD devoted to his music, i figured it was time to try to pin down my thoughts about what Aaron Cassidy is up to. The CD, The Crutch of Memory, focuses on works for one or two players, encompassing both Cassidy’s earliest music as well as relatively recent pieces, the latest of which is around three years old. Both the spread of output as well as the restricted forces involved make this a superb primer for Cassidy’s work.

To begin to understand his compositional approach, take a look at the score excerpt below, taken from Richard Barrett’s 1988 work for trombone and percussion, EARTH (click for high-res).

At this point, towards the end of the piece, the trombone’s music abruptly bifurcates into two staves, the upper showing the slide positions, the lower showing the harmonics being sounded. This fundamentally undermines the way a trombonist is used to playing, where these two parameters imply each other within conventional notation; yet by ‘decoupling’ those parameters, and destroying their traditional connection, Barrett creates a remarkable effect—which, in context, is both profoundly moving and deeply distressing—that could not have been achieved any other way.
Read more

Tags: , ,

Emancipated beats: voidesque – as if it never existed

Posted on by 5:4 in CD/Digital releases | 1 Comment

Despite my fondness for more avant-garde beat-oriented music, for a long time it’s been disappointing to see the current state of such idioms overshadowed by its champions. The likes of Aphex Twin, Autechre and Aaron Funk have, on the one hand, deeply moved and inspired composers and musicians to seek to explore what can be done with beats that doesn’t necessarily have anything to do with dancing, while on the other hand intimidating these same musicians to the point of pastiche and parody. It’s possible to count the really imaginative beat-artists of the last decade on one hand. All the more reason, then, to celebrate someone who brings some fresh invention to the genre.

Derek Jeppsen is a composer based in San Diego, California, a recent graduate in electroacoustic composition, and he piqued my interest when i read the description of his first release:

The album is really quite simple, and draws from certain things that may seem antiquated (drum samples), but this collection is about staying away from my “sound art” experiments and academic work. Many “popular” idioms make it to my music (use of a beat, repetition, etc.), but also many things that wouldn’t fit that context, especially in the rhythmic and form realms (polymeter, metric modulation, tempo changes), which often reflect the fact that I play Javanese gamelan professionally. The album is generally about creating an atmospheric artistic space, and including some stylized elements from dance music. There are also moments about randomness and aggression, and one of the tracks is an algorithmic composition, generalizing “beats” and playing with modal melodic generation.

Read more

Tags: ,

Joyous and infectiously playful: Lindstrøm – Six Cups of Rebel

Posted on by 5:4 in CD/Digital releases | 1 Comment

Having spent several weeks focussing on music of an introspective and ascetic nature, it’s time to let off some steam, and to that end let me flag up the latest release from Lindstrøm, titled Six Cups of Rebel. In nearly 10 years of music-making, this is only Hans-Peter Lindstrøm’s third album (which is not to suggest his output is small; he’s put out over twenty 12″ singles over the years), but the large-scale format clearly suits him. Six Cups of Rebel is a somewhat strange entity to try to define, opening in dazzling fashion with a cascading piece of organ minimalism (‘No Release’), its static, Steve Reich-like epicentre chasing itself in circles over a glowering pedal part of rising Shepard tones. None of which really suggests the full-on party atmosphere that’s about to ensue, with multitudinous but astutely-judged throwbacks to an earlier time; but Lindstrøm’s not just another statistic in the endless parade of latter-day retrophiliacs; he’s far more subtle, opting – for the most part – for whiffs of suggestion rather than a faceful of the past. Lindstrøm has assimilated his influences, and when they appear—funk and house gestures in ‘De Javu’; ’80s synth arpeggios and power chords in ‘Quiet Place to Live’—they’re merely elements in an experiment that’s very much bigger and more original. Read more

Tags: ,
« Previous   1 2 ... 6 7 8 9 10 11 12 13 14 15 ... 17 18   Next »