Mixtapes

Mixtape #54 : Menagerie

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For the new 5:4 mixtape, i’ve turned to the world of animals, assembling music that references a diverse collection of wildlife. All manner of beasts are featured, insects, birds, reptiles and amphibians in addition to mammals, from the smallest (probably, in this selection, a wasp) to the greatest (definitely, in this selection, a whale), and i’ve not entirely limited myself to reality, including a couple of pieces that pertain to non-existent creatures. The musical choices are similarly aesthetically eclectic, and on this occasion i’ve not sought to make strong stylistic connections throughout the mix but instead emphasise uniqueness: for the most part, none of the 38 tracks closely resembles any of the others.

In all, two hours of sonic zoology providing a veritable musical menagerie, ending with a small tribute to one of music’s great musical minds and voices, who sadly is no longer with us. Here’s the tracklisting in full, together with links to obtain the music. As usual, the mixtape can be downloaded or streamed via MixCloud. Read more

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Mixtape #53 : Best Albums of 2018

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Happy New Year everyone!

Many thanks to all of you who have read, followed, commented, shared, promoted and otherwise supported the blog during the previous year, most especially to my beloved band of Patrons. i’m starting 2019 in the usual way, with a new mixtape featuring something from each of the brilliant albums in my Best of 2018 list. Being such an eclectic list, the ‘narrative’ of this mixtape is one that unavoidably veers between quite wildly dissimilar styles and aesthetics, but to my ear that only makes it all the more interesting and fun.

40 tracks (well, technically 41: Jóhann Jóhannsson’s were short so i included two) that testify to and celebrate the range and scale of musical wonders created during 2018 – the full tracklisting is shown below, and links to buy each album can be found in the previous two days’ articles. As always, the mixtape can be downloaded or streamed. Read more

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Mixtape #52 : Christmas

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For the last of my 2018 monthly mixtapes, which i’ve been doing throughout 5:4‘s 10th anniversary year, i’ve gone seasonal and turned to the theme of Christmas. However, while that theme permeates all the choices i’ve made, the result is quite far from the kind of conventional upbeat playlist we’re using to hearing this time of year. i haven’t in any way set out be deliberately contrary, still less put something together that’s sarcastic or ‘alt Christmas’, but i’m conscious that this is a distinctly subdued and contemplative mixtape (something i’ve reflected in the cover artwork). Like compositions, mixtapes are very personal things, and i guess this collection of music is just what i particularly wanted to be spending time with at the moment.

No need for a breakdown of what’s included this time, i think the music pretty much speaks for itself. 60 minutes of mysterious, melancholic and magical music to provide perhaps a darker, deeper hue for the festive season. Here’s the tracklisting in full, together with links to obtain the music. As usual, the mixtape can be downloaded using the link below or streamed via MixCloud. Read more

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Mixtape #51 : Silence (Requiem)

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November is a somewhat sombre month, and not only because the days are getting a lot colder and darker here in the UK. This year’s remembrance ceremonies have had extra potency due to the centenary of the end of the First World War, so i’ve taken this as my cue for the next 5:4 mixtape. It’s titled ‘Silence (Requiem)’, though i should stress that i haven’t created it as a commemoration, homage or tribute to anyone or anything specific – i’ve simply curated music that exists in an interesting and thoughtful relationship with silence.

In some cases this takes the form of busy lowercase chatter (Bernhard Günter, John Wall, Tomas Phillips & Luigi Turra, Shinkei, Ennio Mazzon, Christopher McFall), a few tracks are creatively ‘silent’, presented as ostensibly passive field recordings (Unknown Artist, Christoph Limbach, British Library, Dallas Simpson), and there are various examples of restrained or compressed music, containing a sense of pent-up energy (Ben Frost, Alva Noto & Ryuichi Sakamoto, Desist, Jason Lescalleet, Supersilent, Need Thomas Windham, Secret Chiefs 3, Andrew Liles, Ryoji Ikeda). Most of the tracks, though, are gentle, ruminative and/or meditative music, most of which treats silence as an omnipresence into which its material is carefully placed (Gareth Davis & Frances-Marie Uitti, James Weeks, Brian Eno, The Hafler Trio, The Denisovans, Ouvrage Fermont, Jakob Ullmann, Haruo Okada & Fabio Perletta, Burkhard Schlothauer, Kenneth Kirschner, Jürg Frey, Eva-Maria Houben).

Interspersed at half-hourly intervals are four short excerpts from choral works that either reference the dead or are otherwise laments. Ricky Ian Gordon‘s Water Music: A Requiem is a work, according to the composer, “not only for the dead, but for what seemed like a sort of death in me”. Galina Grigorjeva‘s setting of Joseph Brodsky’s The Butterfly (review) is an exquisitely tender articulation of life’s frailty and ephemerality. Bernat VivancosRequiem (review) avoids the traditional Latin text in favour of a more personal philosophical and poetic reflection on death. To end the mixtape, following two minutes of quasi-silence by irr. app. (ext.), i’ve turned to Alfred Schnittke and the haunting wordless piece that ends his Psalms of Repentance.

In all, two hours of near-noiseless contemplative quietude; i recommend close listening in a darkened space, and as there are no sudden loud outbursts feel free to crank up the volume as much as desired. Here’s the tracklisting in full, together with links to obtain the music. As usual, the mixtape can be downloaded or streamed via MixCloud. Read more

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Mixtape #50 : Remix

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The new 5:4 mixtape is a celebration of the art of the remix. However, i should stress immediately that the emphasis here is not simply on that word’s implied legacy of beats and dance-based forms of music. The scope for this particular mixtape is altogether more broad and open-minded, exploring some of the most unusual, unpredictable and unhinged ways that musicians have rethought, rearranged and reimagined both their own and others’ existing musical material.

Some tracks are more closely associated with the diverse songworlds of pop, rock and electronica – including Gazelle Twin, Nine Inch Nails, Björk, Kate HavnevikThe Irrepressibles, Marina & the DiamondsBeastie Boys, Erotic MarketSusanne Sundfør and Belle and Sebastian – though in some cases the ways that their music has been remixed establishes a sizeable distance from the original. Indeed, in the case of Björk’s ‘Crave (Odd Duck Mix)’ – a remix created by Matmos that was made available as a download from Björk’s website in 2001, and is no longer available – it’s by no means immediately obvious that the track is actually a remix of her song (from Vespertine) ‘An Echo, a Stain’.

Away from songs, i’ve included a number of tracks that occupy dream-like soundworlds of varying levels of stability, comfort and drift. At the more abrasive and/or disquieted end of the spectrum are the likes of Fovea HexAM and the UV, Jóhann Jóhannsson, Shinkei + Mise_en_scene, The Kilimanjaro Darkjazz EnsembleBrian ReitzellKim Cascone and Ektoise, while more sublime environments are found in the music of Ryuichi SakamotoAndrew LilesJonathan Coleclough & Colin PotterCarl Sagan’s GhostMissy MazzoliBen Frost, Sylvain Pohu and Christina Vantzou. Something of an odd one out in the mix as a whole is the track by World’s End Girlfriend, a wonderfully bonkers oddity by an artist whose work i’ve never managed properly to get my head around.

Structurally, it’s pretty much a stream of consciousness, with me more than usually just following my nose, and as a consequence the mixtape veers quite wildly between periods of calmness and seriously ramped-up intensity. Having said that, i’ve started and ended with a pair of tracks that complement each other as an effective overture and finale to the mix as a whole. Access to Arasaka‘s remix of Klangstabil marries elements of dark ambient with glitched beats and electronics, whereas Techdiff‘s grime and dubstep-infused remix of Hecq & Exillon‘s ‘Spheres of Fury’ is quite simply the most accomplished and downright exhilarating remix i’ve ever heard by anyone, retaining an obvious connection to the original while transmogrifying it into a structurally dramatic foray through a series of rhythmically discrete episodes, culminating in the equivalent of a firework display of beats triggered by a barrage of interconnected machine guns. Just amazing.

Two hours of radical reinterpretations; here’s the tracklisting in full, together with links to obtain the music. As usual, the mixtape can be downloaded or streamed via MixCloud. Read more

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Mixtape #49 : Untitled

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For the latest 5:4 mixtape, i’ve turned my attention to that most elusive of artistic statements, the untitled work. When i set out to assemble a shortlist of pieces in my library that had adopted the word ‘untitled’, it wasn’t immediately obvious what i’d find. Yet, with one or two exceptions and to varying extents, untitled tracks tended to yield a very particular type of soundworld: generally dark and/or monochrome in terms of their tone, tenor or palette, with slow, patient use and deployment of sound, often including extended periods of quietness, overall lending the music a pensive, deliberate quality. Above all, i found these pieces to be music highly abstract in character, and while use of the word ‘untitled’ can often provoke frustration when we encounter it in works of art (“doesn’t the artist know what they’re trying to say?”), the intangibility of such music seems to strongly justify the suitability of this word. However, artists use the word ‘untitled’ in ways that are as playful and deceptive as they can be aloof and distancing, and for this mixtape i’ve therefore included not only tracks that are simply untitled but also tracks that use the word ‘untitled’ as part of a longer title as well as untitled segments of larger titled works.

In the first hour, having begun with something of a red herring by Hecq, i’ve concentrated on calmer, darker examples that tend to focus on explorations of texture, from both static and variegated perspectives. Near the centre of the mix is the unexpurgated 15-minute Untitled Drone by Aidan Baker that isn’t just the highlight of his wonderful 2009 album Blue Figures, but one of the most beautifully coruscating exercises in slow-burning ambient that i’ve ever heard. In the wake of this, in the second half i’ve explored untitled tracks that are generally brighter and more colourful, introducing more beat- and pulse-based pieces, some of which even feature vocals (a real rarity in the world of ‘untitled’ music, it seems), and more overt use of instrumental sounds, both raw and cooked.

Throughout the mix, there’s a wide temperature range demonstrated in these pieces, from the warmth (not always gentle) and/or balmy intimacy found in pieces by, among others, Subsea, Zbigniew Karkowski & Kelly ChurkoJames Clarke, Sea Oleena, Ochre, Aphex Twin and 36 to the varying forms of chilly remoteness, some of it seriously aggressive, exhibited by the likes of Noto, CD-R, AutechreHelena Tulve, Nordvargr, Lethe and Christopher McFall & Ben Fleury-Steiner. And that playfulness i mentioned before – plus a fair amount of inscrutability – can be heard manifesting particularly in tracks by Natasha Barrett, John Wall & Alex Rodgers, Marc Behrens, DJ Yo-Yo Dieting, Øyvind Torvund and John Oswald.

Ultimately, though, i don’t want to labour these descriptive terms or indeed the putative aesthetic connections i’ve been making between them, as they may belie the fact, as i said at the outset, that these are above all strikingly abstract pieces of music, and their ostensible lack of a title (if indeed that is what it is) is perhaps all that needs to be said about them.

Two-and-a-half hours of unidentified musical objects; here’s the tracklisting in full, together with links to obtain the music (interesting to note how many of them are available free of charge: another ‘untitled’ connection…?). Due to the inherent ambiguity of some of the track titles, where relevant i’ve also included in the tracklisting the track numbers. As always, the mixtape can be downloaded via the link below or streamed via MixCloud. Read more

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Mixtape #48 : Enoch Light

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Admiration’s one thing but, personally, there aren’t many musical figures whom i regard as full-on heroes. One of the few notable exceptions, however, is Enoch Light. Yesterday, 31 July, marked the 40th anniversary of Light’s death, and so as a small tribute to the great man my latest mixtape is a celebration of his work.

If his name’s not familiar to you, that’s not necessarily surprising. His earliest recorded work dates from the later 1950s, continuing until roughly the mid-1970s, and unless your musical interests encompass the very particular conjunction of big band, lounge, jazz and easy listening that flourished during this period, he’s unlikely to show up on your radar. My penchant for this music, which began when i was a child – listening to the LPs in my parents’ record collection – has steadily grown into a full-blooded passion, though for obvious reasons it’s not one that i get a chance to discuss on 5:4 very often (the one exception to date being my 26th mixtape devoted to Easy Listening, though as i was focusing particularly on the more laid back late ’60s/early ’70s sound in that mix i didn’t include any of Light’s music).

Enoch Light deserves to be remembered and celebrated not only for his music, but also for the pivotal role he played in greatly developing and improving recording standards and techniques. Having founded his own label, Command Records, in 1959, he pushed hard for the acceptance of stereo (and, in due course, quadrophonic recording), flamboyantly showing it off by using extreme separation and panning, often utilising a left/right hocketing effect that came to be known as ‘ping pong’ recording. One of his most radical decisions was to reject magnetic tape in favour of the increased clarity, stability, stereo positioning and resolution that could be obtained from recording onto 35mm film. The wonderful artwork that adorned Light’s albums combined stark minimalistic, geometric designs – some created by none other than artist Josef Albers – with bold exclamations about the quality and innovation of the recording. These beautiful sleeves occupy a unique place in the history of album artwork.

But, of course, most of all it’s the music that gets me excited. In his multiplicity of roles as conductor, arranger, producer, engineer and, in his own word, ‘originator’, Light created a legacy of music that brought together the brash exuberance of big band and jazz, the cool swagger of lounge, and the light, romantic elegance of easy listening, even managing to incorporate Moog synthesisers into his later work. By turns exhilarating and sublime, for me Enoch Light is one of the most significant and marvellous musical talents of the twentieth century.

For this mixtape i’ve selected some of my favourites from throughout his career, from the very first Command Records release, Persuasive Percussion (1959) to one of Light’s last discs, a quadrophonic album released on his equally forward-looking Project 3 label, Future Sound Shock (1973), the sleeve of which proudly proclaims: “After years of research, the producers, arrangers and artists at Project 3 have produced the recording of the future which will serve as a leader in the world of recorded sound for many years to come.”

In all, a little over 90 minutes of music by way of tribute to the wonder that was Enoch Light, 1905–1978. Here’s the tracklisting in full, followed by links to download and stream the mixtape. Read more

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