CD/Digital releases

Fearless forays into choral hinterlands: Exaudi – Exposure

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Newly available this week from the thoroughly ambitious Huddersfield Contemporary Records is Exposure, a collection of choral works performed by contemporary music’s most adventurous cluster of vocalists, Exaudi Vocal Ensemble, directed by James Weeks. As with all of HCR’s releases (the rest of which are well worth exploring – details here), the featured composers are an eclectic mixture, demonstrating well the range of Exaudi’s interests and skills. It is by far the most radical disc of vocal music i’ve encountered in a long time, an exploration that takes real risks both in terms of choice of repertoire as well as the pressures brought to bear on the singers themselves.

Of course, going out on a limb is fraught with dangers, and there are pieces on this disc that work far better in theory than practice. Not many, thankfully, but Joanna Bailie‘s three-part Harmonizing—seeking to tease out pitched material from field recordings and meld it into corresponding vocal parts—lacks conviction in the attempted correlation, and the method (somewhat hackneyed in any case) only seems to emphasise its subjectivity and arbitrariness, narrowing the scope of these ‘artificial environments’. The second of the three succeeds best, but the other two are forced and boring respectively. Bryn Harrison‘s eight voices suffers in similar fashion, the twists of its repeating material (rather like a convoluted isorhythm) sound marvellous as an idea, but the piece displays minimal result from maximum effort, rapidly losing its ability to command attention. Here, though, Exaudi’s deeply impressive control and consistency frequently distract one from the work’s shortcomings. Read more

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Minimal & dangerously liminal: Jakob Ullmann – fremde zeit addendum 4

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Despite the fact that writing about amazing music is such an unalloyed pleasure, there are times—many more times than i would care to admit—when the music skitters away, becoming elusive when confronted by one’s attempts to speak of it. Perhaps there’s no dishonour in being confounded by glory, but the frustration has never been more acute than when trying to write about the music of Jakob Ullmann. Including the outstanding fremde zeit addendum 3CD boxset of his music near the top of my 2012 Best Albums list wasn’t just an act of fitting celebration but also of defeat; the bland paragraph i wrote to accompany its entry came after umpteen doomed attempts at something more substantial earlier in the year. So when the Edition RZ label recently sent me their latest release of his music, fremde zeit addendum 4, it seemed only fitting to try again.

For anyone unacquainted with Ullmann’s music, there are equivalent points of entry to be found in any of the releases Edition RZ has put out over the last few years, A Catalogue of Sounds, voice, books and FIRE 3, the aforementioned boxset as well as this new CD. It’s worth mentioning that Edition RZ—one of the most forward-looking of labels in any case—has been essentially a lone advocate where Ullmann is concerned; considering how many of his works remain unperformed and recorded, other labels would be wise, finally, to catch on. For there is something truly extraordinary going on in Jakob Ullmann’s music, music that positions itself in a place that is both minimal and dangerously liminal. Read more

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Evocative bewilderments of utterance: Kenneth Hesketh – Wunderkammer(konzert)

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Among the recent releases from the NMC Recordings stable i was pleased to see one devoted to the music of Kenneth Hesketh. Ken’s music has intrigued me for some years, and i’ve had the good fortune to conduct one of his works (Fra Duri Scogli) back in 2010. The new NMC disc brings together a cluster of pieces, most of which were composed around five years ago. They include no fewer than three orchestral works, plus a pair of ensemble pieces, focussing on commissions for the Royal Liverpool Philharmonic Orchestra and Ensemble 10/10, who are the respective performers on the disc.

i think it’s only fair to suggest that Hesketh’s music is an acquired taste, and not because it’s particularly ear- or mind-mangling. On the contrary, one of the characteristics that typifies these five works is their overwhelming clarity, which over time can become a tad relentless, even oppressive. Yet that’s an integral aspect of the multi-faceted charm that is equally typical of this music. When turned in the direction of an archetypal concert-opener, as in A Rhyme for the Season, the orchestral forces are kept firmly in place, embodying the kind of spiky, ants-in-the-pants restlessness that fans of mainstream (i.e. published) British music will find very familiar, yet treated to more than usually enchanting orchestration. Ideas pass at breakneck speed between the sections, and despite its relative functionality, there are some nicely unexpected structural moments that prevent it feeling workaday or staid. Read more

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Best Albums of 2012 (Part 2)

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* Please note this list has how been superseded by the one on the Best Albums of the Years page *

The lists reduce the vastness into controllable sizes, into the size of things that can fit into our mind, where they can expand again to the size of everything. The list is the way of fitting everything in one place at one time, so that we can take it with us, so that we can fit it all inside a microchip, a chip we can then fit inside our soul. … The list is a code for everything we are, the list is a diagram, sometimes extremely slight and incomplete, sometimes unbelievably deep and complete, of eternity.
(Paul Morley, Words and Music)

Here we go, then, with the absolute pinnacle of this year’s albums, every one of them essential listening. Read more

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Best Albums of 2012 (Part 1)

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* Please note this list has how been superseded by the one on the Best Albums of the Years page *

This is a list surrounded by other lists leading to other lists, lists … that explain everything by being gateways into worlds of sound, feeling and information…
…the love of making lists is an attempt to remind us of what it is that has happened, and what is happening, all at once, as time and humanity collapses into itself. …
The list is a collage of hopes and wishes, of knowledge and exhibitionism.
(Paul Morley, Words and Music)

So we move on to the list of lists, the forty albums that have made the greatest impact over the last twelve months. Here are the first twenty to have made the cut.

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Best EPs of 2012

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The list is what brings a world of chaos into some kind of pattern. The list fixes a broken world floating out into the outer world of emptiness. The list links us to ourselves, places us together, puts us in order. The list soothes us in the way it organises memory and shapes the consciousness. Everybody loves a list for making sense of the awesome nature of all the stuff that surrounds us. The list is at the heart of everything. Everything is part of a list. Humanity is one long list linking nothing with something.
(Paul Morley, Words and Music)

Paul Morley telling it how it is, & as the year starts to fade away, it’s time once again for the series of lists detailing the best of the best that’s passed through my eardrums in the last 12 months. We begin, as ever, with the ten most outstanding EPs. Read more

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Magical, jewel-like: Monty Adkins – Four Shibusa

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In my 2011 Best Albums of the Year list, in third place was an album that remains one of the best examples of ambient music i’ve had the pleasure to hear: Monty AdkinsFragile.Flicker.Fragment. Describing it as ‘ambient’ is, in some ways, to do it a disservice, as—unlike most deliberately ambient music—it’s a lot more than just that. i described it then as “ambient by accident”, and the same could be said for Adkins’ latest album, Four Shibusa, released on the excellent label Audiobulb Records earlier this year.

The term ‘shibusa‘ is Japanese, and connotes the qualities of a distinct aesthetic outlook emphasising characteristics that Adkins summarises as “simplicity, implicitness, modesty, tranquillity, naturalness, normalcy and imperfection”. The four works presented here were part of a project in collaboration with artist Pip Dickens, in which she and Adkins created an exhibition of work, Shibusa—Extracting Beauty, reflecting upon and exploring aspects of the other’s art form. In the exhibition’s accompanying book, Adkins outlines “four fundamental models” that formed the basis of their work:

the smudging and blushing of colours and motifs into one another […];
the layering of different patterns on top of one another and allowing certain aspects of one or another layer to come to the fore at determined points;
repetitive patterns that are imperfect and are interrupted […]; the repetition here is not always exact, reflecting the human hand rather than the use of the machine […];
interlocking linear motifs that are clear in their group trajectory but remain independent lines.

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