Free internet music

Free internet music: Wixel

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Wim Maesschalk, better known as Wixel, is a Belgian musician who originally set up the label Slaapwel Records, the aim of which, as that name implies, is to provide “music to fall asleep to”. In a way that tells you all you need to know about Wixel, though his music is capable of a whole lot more than just sending one to sleep. His output isn’t large, and for the most part consists of his ‘2009 Project’, a series of 12 mini-albums he released a decade ago, each one on the last day of the month. Though these releases weren’t put out by Slaapwel their connection to sleep is extremely strong, and indeed one of the things i find most fascinating about them is that they don’t merely sound designed to accompany that unique kind of somnolent whooziness, but in many cases sound as if they were actually created in that very state. What this means is that the music has a tendency to veer quite sharply between grabbing one’s attention and seeming completely disinterested in doing anything more than just lethargic rambling. Such a division as that sounds pretty close to Brian Eno’s ‘interesting/ignorable’ dichotomy, and indeed Maesschalk wrote the following in his introduction to the fourth album in the series, Slaapliedjes [Lullabies], with regard to the practice (and difficulties) of utilising processes to aid creativity:

Trying to make good music every day of the week can be quite frustrating. Especially because you know it is impossible to make 12 records full with excellent melodies and sounds. … Suddenly I had the idea to forget about melodies, about rhythm, about shaping sounds. The only thing that would determine these songs is the density of notes and the choice of the instruments. … The consequence is that all [the] songs are very different, yet they sound very alike. … They all look very very similar, but they’re all quite unique. … All [the] songs are also part of my idea about “slaapwel records” music. They shouldn’t carry too many stories, but should reside on the thin line between pretty and boring.

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Free internet music: Zbigniew Karkowski

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One of my absolute favourites at the most extreme end of pretty much all musical continua is Polish composer Zbigniew Karkowski. Karkowski died just over five years ago, and digesting his legacy is something i’ve been attempting to do since his passing. While there are plenty of available recordings of his work, concert performances in the UK are exceedingly rare. Graham McKenzie prominently featured his work at HCMF in 2015 and 2017, and both occasions served as a marvellous demonstration of the unique combination of intricate subtlety and enormous overload that typify Karkowski’s music. Performances of Karkowski easily rank among the most beautiful and overwhelming musical experiences i’ve ever had, and one can only hope that similarly open-minded concert curators might programme his work more often in future.

Live in Lyon is an unedited 23-minute recording of one of Karkowski’s performances. The fact that it’s unedited is significant, as it highlights from time to time the way in which Karkowski wrangled with both the technology and the sound materials themselves, and the occasional dropouts and glitches that occur in no way sound like ‘mistakes’ but only add to the overall effect of the performance. Discussing Karkowski’s music to an extent necessitates looking broadly rather than at minutiae. It tends to unfold slowly, generally favouring evolution and transformation rather than abrupt cuts and shifts, and an important factor in engaging with it is the way one gradually becomes familiar with its discrete sound elements, a familiarity that Karkowski often makes crushingly intimate. Read more

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Free internet music: The Missing Ensemble

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The Missing Ensemble was a US trio comprising Daniel De Los Santos, John Sellekaers and Mathias Delplanque, who together released two albums around 13 years ago. i forget where the recommendation to listen to their music came from all those years ago, but i do remember that one of the things that instantly drew me towards it was the cover art of their first album, Hidden Doors (2006), which featured a painting by an artist i had long admired, Ray Caesar.

Caesar’s art is beautiful and unsettling, and that’s not a bad description for Hidden Doors, a four-part journey through a soundscape that’s simultaneously stable – even, at times, borderline stagnant – yet with an omnipresent sense of threat. The first part sets up two layers of sound, one of which is positioned in the middleground, and consists of quiet, slightly glitchy burbling. The second layer involves various pitches being emphatically extruded in the foreground, sometimes piercing or juddering, other times acting in a more circumspect manner, lurking nearby. The relative strength of these two layers continually varies and wavers though extremely slowly, gently altering the depth and focus of the music. In the second and third parts there’s more of a sense of diverse elements being brought together. In the relatively brief Part II, there’s a sense of metamorphosis, of these elements combining to form something new. In less than three minutes it becomes a beautiful but strange, multi-faceted texture in which pitch and noise collide and jostle, as if it were reforming and breaking apart constantly. Read more

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Free internet music: Access to Arasaka

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Apologies for the silence on 5:4 for the last couple of weeks, but i’ve been completely wiped out by ‘flu during this time, and have only started to feel relatively human again in the last day or so. Very belated then, i’m going to spend the remainder of January in the same way as i did in 2018, starting the new year by showing deference to the financial repercussions of the festive season, and teasing out some of the more interesting music that’s available online for no money whatsoever.

i’m going to begin with US musician Rob Lioy, who releases his music under a name derived from one of the megacorporations in role-playing game Cyberpunk 2020Access To Arasaka. It’s possible to speak quite broadly about the Access to Arasaka back catalogue due to the fact that Lioy’s musical approach has remained pretty consistent. It’s primary characteristic is a dichotomy between motion and stillness, the former articulated via energetic, often heavily-glitched beats placed emphatically in the foreground, the latter as layers of pitch and harmony that drift in the middle- and background as well as, crucially, bass drones that despite often being implied more than heard, nonetheless tend to feel omnipresent. It’s an archetypal ambient/electronica amalgam, but there are numerous ways that Lioy’s work stands apart from the large amount of music that explores this kind of conjunction.

It’s partly down to the music’s sheen: every Access to Arasaka track has the same kind of futuristic noir atmosphere that permeates Ridley Scott’s Blade Runner. As such, the music displays an array of opposites. Its ultra-modernity is matched by a gritty, even dirty demeanour; the beats in particular are often encrusted with digital grime and squelch such that they sound not so much new as a resurrected manifestation of something potentially much older. The liveliness of these beat patterns – which, when present, are almost always front and centre – is countered by the way Lioy grounds each track over a drone, resulting in music that inhabits a sharply defined and perhaps delimited environment, within which it remains somewhat tethered in place. One of the most beguiling opposites that characterises Access to Arasaka is the fanciful sense that, far from being actively composed, these might almost be compositions created by the computers themselves, as if banks of ancient data had begun burbling into life and sought to arrange their contents according to some kind of artificial intelligence. This arises in part from the austerity of Lioy’s aesthetic, which treats its elements of beats and bass with such aloof, monochrome intensity that it becomes almost fetishistic. Another way of putting it might be to say that Access to Arasaka is cold and unemotional, yet of course the way one responds to such music may well be the complete opposite. Read more

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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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Altered (steady) states: Kenneth Kirschner – September 27, 2016/November 17, 2016, Markus Reuter – Falling for Ascension, Formuls – entryiseasierthantheexit_exit

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A few years ago, when writing an extensive monograph on the music of Kenneth Kirschner, i used the term ‘steady state’ to indicate the particular way in many of his works that material is deployed and juxtaposed over extended periods of time. This latter aspect, extended time, is vital: both as a compositional approach and a listening experience, it could be described as ‘macrospective’; what happens moment by moment is of secondary importance to its long-term structural dimension. However, what makes ‘steady statism’ – to coin a phrase – so engaging is the way we as listeners are pulled back and forth between focusing on the short- and long-term actions of the music, ever aware of its essential open-endedness yet nonetheless engaged by the shifting, possibly transient, ways it is manifested on the surface.

Steady statism has connections (roots even) to, among other things, 20th century US experimentalism and ambient music, two areas that have had and continue to have significant influence on contemporary music-making. In Kirschner’s case, it remains a key part of his musical language, demonstrated in several of his most recent works (all of which are available for free download from his website). In September 27, 2016, it’s articulated via widely-spaced miniature gestures – emanating from what sounds like piano, violin, vibraphone and/or glockenspiel: possibly real, probably synthetic – each one comprising a single pitch held for a short time. Not all of the instruments play in each gesture, and the length the pitches are held is not precisely exact in each instrument, but that’s by the by; the process the work undergoes is a simple, solemn statement of these micro-ideas, each one allowed to sound for only a few seconds before the music disappears back into the darkness. The silences are roughly between 20 and 40 seconds’ duration, meaning that most of September 27, 2016 is silent, yet to my mind this only gives each of these sonic motes more potency. And there are surprises too, such as when, nine minutes in, there suddenly appear to be many more string instruments present than we suspected. Fascinating and beautiful. Read more

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