CD/Digital releases

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

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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.
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20 years on: The Orb – Blue Room

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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

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

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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.
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Emancipated beats: voidesque – as if it never existed

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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.

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Joyous and infectiously playful: Lindstrøm – Six Cups of Rebel

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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

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A crazily convoluted crucible of ideas: Three Trapped Tigers – Numbers: 1–13

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Turning away from the Lent series for a bit, for some time now i’ve been itching to write about Three Trapped Tigers. They’re a trio of musicians from London, and despite the fact they consist of keyboards, bass guitar and drums, despite the fact their music is given labels such as ‘math rock’ or ‘instrumental noise rock’, and despite the fact their live gigs subject one’s eardrums to the kind of pummelling one might expect from, say, Meshuggah, it just doesn’t feel right to describe them as a ‘band’. Superficially, they fit the mould, but their music is significantly different—in both conception and execution—from pretty much everyone else of that ilk.

Their debut album, Route One or Die, was released last year, and the fact i placed it second on my Best Albums of 2011 perhaps says something. It’s an astonishing tour de force of heavyweight invention and lightweight agility, but this shouldn’t have come as a surprise to anyone. For a full three years beforehand, Tom Rogerson (keyboards/vocals), Matt Calvert (guitar/electronics) and Adam Betts (drums) evolved their unique mode of expression through a series of 13 compositions; simply numbered in order rather than given names, these pieces were released on three EPs with similarly functional titles, EP (2008), EP2 (2009) and EP3 (2010). Released in relatively small quantities, these EPs have became hard to find, so they’ve recently been re-released both as digital downloads as well as on a “remastered” compilation album, Numbers: 1–13; more about these later.
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New digital EP: Simulated Music – postscript

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i’ve released today a new EP of electronic music, titled Simulated Music – postscript. As that name suggests, the EP contains material related to my album Simulated Music, released a few months ago. Here’s an excerpt from the blurb:

Simulated Music, released in June 2011, was a cycle of music created at speed. As i wrote at the time, “critical decisions … were made with a minimum of deliberation. Once they were decided, i worked quickly, not concerning myself much with minutiæ, thinking instead about the broader, gestural shape of the music as a whole”. Nonetheless, the process that led to each ‘Simulation’, while relatively brief, contained a considerable amount of experimentation, as it was worked into its final form. On several occasions, i produced more than one version of a piece, uncertain of which i preferred; only when finally assembling Simulated Music did it become clear which versions of the pieces should be used. This EP contains nearly all of the alternate versions.

As with my earlier EPs, Simulated Music – postscript is only available as a free digital download, via my Bandcamp site.

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