CD/Digital releases

Free internet music: Press Charges

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There’s so much i could write about in this series looking at free internet music, that i think it’ll be something i’ll have to return to regularly from now on. For the time being, though, i’m ending this series with an album that’s one of the most imaginative and effective reworkings of existing material that i’ve ever heard. It’s by Irish musician Dunk Murphy of whom, it must be said, i’ve seriously wondered over the last few years if he can do no wrong. He’s the creative force behind the project Sunken Foal, whose three Friday Syndrome volumes (released in 2012, 2013 and 2015) are all absolutely stunning demonstrations of his unique experimental approach to blending acoustic and electronic sounds into something that, stylistically speaking, is very hard to describe, but if we were to call it electronica then that wouldn’t be entirely untruthful.

In between volumes 2 and 3, in 2014 came Press Charges, which appears to be a one-off project, but on its strengths one hopes it’s something Dunk Murphy will return to in the future. Murphy has taken a dozen songs by Smokey Robinson – either more recent solo tracks or older numbers recorded with The Miracles – and used just the vocal line, around which he has created an entirely new musical context. It’s worth stressing that knowledge of the originals is not in any way vital to enjoying this album in its own right; far from it, as one would expect from Murphy they’re a sublimely enjoyable collection of punchy, soul-infused tracks that strike a perfect balance between the edginess of their beat and bass patterns with the overtly lyrical streaks running throughout each song. However, spending time with the originals goes a long way to highlighting just how ingenious are Murphy’s reworkings, which in every case bears almost no resemblance to the original arrangement, yet manage to stay utterly true to the song’s underlying lyrical tone. Read more

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Free internet music: Ektoise

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It’s Australia Day, so the next artist i’m featuring in my series looking at free internet music is the Brisbane-based group Ektoise. It’s difficult to know where to begin, partly because, stylistically speaking, it’s not easy to summarise succinctly what their music is like, and partly because Ektoise is just one manifestation of the creativity of Greg Reason and Jim Grundy, who in addition to being the driving force of Ektoise have released music under numerous other names, each with their own distinct outlook. In order to write something cogent and concise, on this occasion i’m going to focus solely on Ektoise, and i’ll be examining some of their other work at a later date.

Developing from an earlier project called Purity Device, Ektoise were active from roughly 2010 to 2013, comprising Greg Reason, Jim Grundy, Scott Claremont, Hik Sugimoto, Greta Kelly and Tim Fairless. Utilising guitars, synths, violin and percussion, they’re in essence a band, but while their music is clearly rooted in elements of rock and jazz, it transcends both due to a constant air of experimentation, heavy implementation of electronics as well as a distinct tendency towards the avant-garde. Read more

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Free internet music: Brothomstates, Stephan Mathieu

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The next recommendations in my series looking at free internet music are a pair of pieces exploring extremes of computer-mangled audio. The first is a new release from Finnish composer Lassi Nikko, better known as Brothomstates, and even writing his name in the context of a new release – something i never thought i’d be able to do – has immediately put a big smile back on my face. i’ve been a Brothomstates fan for many, many years; since 2001 in fact, when Claro – a gloriously euphoric blend of ambient, electronica and IDM – was released on the Warp label. That in turn led to me plundering his back catalogue, both his 1998 self-released debut album Kobn-Tich-Ey (apparently one of the earliest ever MP3 album releases, which in many respects contains the seeds of what would become Claro) as well as his extensive collection of music created as part of the once vibrant demoscene community, under the name Dune. Both the album and the demoscene tracks are still all freely available online courtesy of scene.org, though anyone wanting to explore the latter should bear in mind they’re all in S3M or MOD format, which will need to be played in VLC media player (which can also convert them), Winamp or an equivalent. Read more

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Free internet music: Kreng

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While we’re still caught up in winter, and before the days get too much lighter, it’s one of the best times of the year to get stuck into the music of Belgian composer Pepijn Caudron, better known as Kreng. He came to my attention around six years ago, when Works for Abattoir Fermé 2007 – 2011 was released, a staggering 3-hour epic box set compiling his work for the eponymous surrealist theatrical troupe. It subsequently became my best album of 2012, and led me to investigate his earlier work, including a pair of EPs dating from the same time Caudron began working with Abattoir Fermé, both of which were released as free downloads.

The Pleiades EP (originally subtitled ‘a.k.a. The Seven Sisters’) was originally released on the Dutch netlabel Fant00m in 2007. Its seven tracks occupy an electroacoustic soundworld similar to that permeating the box set, arranging its collection of recorded elements into a black ambient environment with a distinct air of theatricality. Their recurring rhythmic patterns – sometimes manifested as clear-cut beats, elsewhere more elusive cycles and repetitions – and the music’s claustrophobic monochromaticism bring to mind the better work of Demdike Stare, though Kreng is less concerned with conjuring up a past aesthetic – still less presenting an ersatz rendition of it – than with creating a contemporary habitat that feels aesthetically distant yet familiar, seemingly remote yet chokingly close. The careful deployment of short sampled sounds is also redolent of early John Wall, particularly third track ‘Asterope’, a short but evocative piece combining a bassline with skittery strings, vinyl crackle and a distant noodling piano, which together project something with more than a whiff of doomjazz. Read more

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Free internet music: Martin Stig Andersen – Rabbit at the Airport

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Next up in my series looking at free internet music is a triptych by Danish composer Martin Stig Andersen. To many, Andersen is likely best known for his award-winning music and sound design work on Limbo, one of the most breathtakingly stunning – and, often, terrifying – video games of recent times. A few years before this, from 2006 to 2008, Andersen created the three parts of the wonderfully-named Rabbit at the Airport, a 35-minute work combining electronic sound with bass clarinet, played by Gareth Davis. In my lengthy Dialogue with Davis, we discuss his collaborations with Andersen, and in the course of that discussion (which starts around 1 hour 25 minutes in) i was amazed to learn that all of the electronic sound through the three movements of the piece is directly derived from Davis’ clarinet:

SC: The sound world, especially in the three Rabbit at the Airport pieces, is astonishing, just astonishing. Although the relationship between the [electronic] material and what you’re doing is interesting because there are times, especially the first one, i think, where you are practically squashed by the electronics.

GD: Yes, although everything is me playing, it’s all live.

SC: Is it all you? Everything we hear?

GD: It’s all me, everything you hear is me. He constructed a kind of distortion using the pickup from an old record player, so he has the signal go through a pickup then through a kind of sonar device. So he constructed a mechanical distortion of sorts.

SC: i always thought it was almost like you pitted against the electronics, but in fact it’s all—

GD: It’s all just me. How it goes, as an album, you have this, first, really distorted, mechanical thing. And then when you get to Rabbit at the Airport II, then it’s pitting the real sounds of the clarinet against the distortion. […] And then III is more floaty, the scary rabbit’s gone.

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Free internet music: Altus

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i’m going to start 2018 exploring an area that seems particularly appropriate and indeed desirable in January, in the wake of the financial blow-outs many of us will have made in the run-up and perhaps also aftermath of Christmas: free internet music. This sort of thing used to be primarily located within the purview of netlabels, and while these labels presumably fostered a sense of community, the narrow curatorial outlook demonstrated by the majority of them coupled with – in many cases – the poor standard of much of the music was perhaps responsible above all else for the downfall and/or abandonment of so many of them. Today, few really good netlabels still exist, something i hope to return to later in this series. Initially, and primarily, i’m going to focus on individual composers who have opted to make their work available online free of charge. Apropos: the term ‘free’ can be a contentious one, and in the case of Bandcamp – surely the predominant platform at present for offering music in this way – many artists avoid this terminology in favour of their “Name your price” option (which can, of course, be zero). Maybe it’s just me, but as far as i’m concerned, if someone allows me to name my own price, that price will always be zero. So, with that in mind, everything i’ll be featuring here is either simply free or offered under this more equivocal ‘name your price’ option.

i’ve decided to start with a composer who creates ambient music due to the fact that ambient is itself going to be a recurring theme on 5:4 throughout 2018. This year marks the 40th anniversary of Brian Eno’s Music for Airports, which effectively provided a ‘manifesto’ of sorts for ambient (which already existed in a variety of nascent forms), so at various points in the year i’ll be exploring the history and development of ambient music over the last 40 years.

Returning to free internet music, the issue of quality control (from the composer’s or label’s perspective) and its concomitant necessity for careful discernment (from the listener’s) persists today, and is one that will feature in some of the music i’ll be discussing in this series. It certainly applies in the case of Canadian composer Mike Carss, who under the name Altus has been creating ambient music for around 15 years. In that time he’s produced a great deal of music, almost all of it available free online, though in more recent times he’s charged a small amount for lossless downloads, while the lossy version has remained free. There’s two things i think one needs to bear in mind at the outset when approaching Altus. His enthusiasm and, at its best, talent for ambient music are considerable, and i regard some of his work as among the best ambient i’ve heard. However, the compositional quality overall is quite wildly variable – a seemingly quintessential trait for ambient composers, it seems – though interestingly, in Altus’ case this isn’t manifested as poorer earlier work being trounced by more sophisticated later music. It’s more complicated and unpredictable than that, so i’m going to offer here a guide to the most outstanding examples of his output. Read more

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Ensemble Musikfabrik – Stille, Label Musikfabrik

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Let’s talk about Ensemble Musikfabrik. First off, the German ensemble is responsible for some of the most memorable and fascinating concerts i’ve ever attended. Their performances during the 2016 Huddersfield Contemporary Music Festival remain personal favourites, both the opening weekend concert – including among other things, Georg Friedrich Haas’ I can’t breathe and Marcin Stańczyk’s marvellous Some Drops, both showcasing trumpeter Marco Blauuw – and also the concert based around the ensemble’s fabulous recreations of Harry Partch’s microtonal instruments, featuring Claudio Molitor’s hour-long act of sonic wonderment, Walking With Partch. But even more than these, the concert that remains most affectionately in my memory – one of the most exhilarating concerts of my life – was their performance at the one-off Bristol New Music festival in 2014, where the combination of Partch’s And on the Seventh Day Petals Fell in Petaluma with a medley of works by Frank Zappa must rank as one of the finest acts of music-making that the city’s Colston Hall had ever experienced. What all of these concerts demonstrate is Musikfabrik’s generous and warm openness to all forms of experimentation, no matter how weird or ostensibly ludicrous, in conjunction with a level of determination and commitment that’s nothing less than absolute. Only an attitude like this could have led to the Partch instruments being so painstakingly and lovingly recreated, as well as to the development of new iterations of familiar instruments, such as their double-bell brass instruments.

The ensemble’s outlook is mirrored entirely on their recorded output which, more than most, goes a long way to capturing the vivid discombobulation of their concert performances. Their most recent disc, Stille, the twelfth in their ongoing series Edition Musikfabrik, is yet another case in point. It’s true to say that a Musikfabrik concert can and often does involve a certain amount of acclimatisation, and it’s also true for Die Bewegung der Augen by Evan Johnson. As with all four works on this disc, it’s a piece exploring silence, or rather the fact that silence “is never empty” (from Johnson’s programme note). Clearly the by-product of a lot more activity (in one form or another) than is audibly apparent, Johnson’s music here sounds private, not merely behind closed doors but positively internalised and miniaturised, as though we were privy to small-scale activities and actions that would otherwise be entirely oblivious to us. Its little bursts of material surrounded by silence gradually instigate a different mode of listening, one where i came to feel like the Incredible Shrinking Man, becoming smaller and smaller to the point that its tiny sounds and gestures yawned ever more impossibly above me. Beyond this, particularly in the second and third movements, a halting lyrical streak emerges that, in such a pint-sized context, sounds enormously poignant. Read more

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