Mixtapes

Mixtape #20 : Dancefloor

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Having finally emerged from the dark days of Lent, i thought it would be fitting to have a new mixtape, with an upbeat theme. As i’ve mentioned on previous occasions, dance music has always been a parallel love of mine alongside the avant-garde, and this mixtape will, i hope, prove to be an irresistable selection. As always, there’s a mix of old and new, the oldest being around 13 years old, the newest released last month.

Delphic were included in the BBC Sound of 2010, not exactly a good sign to be sure, and while they’ve failed (as yet) to distinguish themselves, this song isn’t at all bad, and this remix makes it perfect. Above and Beyond are, in my view, the champions of contemporary trance music, and they feature on this mixtape four times; “Stealing Time” is one of the standout tracks from their lovely album Tri-State, released 5 years ago. Connected to Above and Beyond via their Anjunadeep label is Michael Cassette; this is his latest single, a delicious throwback to 1980s synths. Ahead of Delphic in that dreaded BBC 2010 list was Marina Diamandis, better known as Marina and the Diamonds; she’s proved herself to be a real talent, and while “I Am Not A Robot” is pop perfection as it stands, this hard-to-find remix is outstanding. If you’ve never heard of Bloodgroup, they’re an up and coming band from Iceland, specialising in a rather unusual brand of electropop (with occasional similarities to The Human League); this track comes from their latest album and is a good introduction to their music. Read more

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Mixtape #19 : Best of 2010

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HAPPY NEW YEAR!

It’s 1 January, which means it’s 5:4‘s birthday, and today we’re three years old. Having spent several days looking back on last year’s most outstanding releases, what better way could there be to start the new year than with a new mixtape, featuring one track from each of my forty best albums of 2010. As you’d expect, it’s another extremely eclectic mix, and this time lasts a little over three-and-a-half hours. If you like the mix (and how could you not?!), please support the artists and buy their excellent music.

Here’s the tracklisting in full (click the image for high-resolution artwork): Read more

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Mixtape #18 : Hallowe’en

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Caught up as i am this Hallowe’en weekend in a flurry of horror movies, it seemed only right to make the new 5:4 mixtape suitable for the occasion. For this Hallowe’en mix, i’ve trawled my library for music that’s particularly unsettling—so don’t expect to hear ‘The Monster Mash’ or anything like that.

Not surprisingly, a number of soundtracks are featured, of very different styles and manners. The opening of Johan Söderqvist‘s score for Let the Right One In is a masterpiece of foreboding tension; Joe LoDuca explores rapid-fire percussive sounds in this nervy section of his music for the classic The Evil Dead (and the image on the artwork is a beautiful still taken from the equally beautiful blu-ray transfer of Sam Raimi’s brilliant Evil Dead II). Christopher Young draws on evocative metallic clangs and the ominous tinkles of a music box for his Hellraiser soundtrack, going to the opposite extreme for its sequel, Hellbound, the overture of which aspires to the operatic. Angelo Badalamenti—featured twice—establishes an almost immobile, horribly enclosed mood in his music for season 2 of Twin Peaks and, even more so, Mulholland Drive. The extreme, though, is Lars von Trier and Kristian Eidnes‘ soundtrack to Antichrist, one of the most unconventional ever created, and certainly one of the best. Jerry Goldsmith‘s score for Basic Instinct functions like a vast orchestral suite, often eschewing dramatics for music that slowly builds with masterly restraint; Thomas Bangalter—in a break from being one half of Daft Punk—accompanied one of the most horrific scenes of film violence with this ludicrously effective and queasy bit of sound; and David Lynch‘s own music for his exhibition The Air is on Fire is an impossibly deep and dark ambient cycle, occasionally—as here—introducing elements of hauntology. Read more

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Mystery Mixtape #1

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It’s been almost three months since the last 5:4 mixtape, so here’s a fresh one, the first in a new, occasional series of “Mystery Mixtapes”. 90 minutes of music comprising 31 tracks (well, 30 plus a snippet) and—you guessed it—you don’t get to know what they are. Go on, take a chance…

MP3 [146Mb]

Mixtape #17 : Lay the Voice to Rest, Dear Mist (In Memoriam Danielle Baquet-Long)

Posted on by 5:4 in Anniversaries, Mixtapes | 2 Comments

How quickly a year passes. On this day, 12 months ago, Danielle Baquet-Long died, bringing to an abrupt end the remarkable musical project that she and husband Will had crafted together for several years. Of course, music, like life, goes on regardless, and the prospect of plenty more releases yet to come from both Celer and Chubby Wolf (Dani’s solo project) continues to be an exciting one.

To mark today’s sad anniversary, the new 5:4 mixtape is in Dani’s memory, bringing together a diverse selection of music that broadly falls into the ‘ambient drone’ category. Drone has entranced me since i was pretty young; in the right hands, it has a quality that always seems familiar, yet somehow achingly inscrutable and difficult to define; close and intimate, yet also impossibly distant. But this kind of music (and certainly on an occasion such as this) is perhaps best not written about in too much detail; suffice it to say the examples here range from vast, dazzling textures that seemingly envelop everything in sight to gentle half-heard whispers. Of course, Dani’s own music is included, the final (very brief) example of which gives the mixtape its name.

In total, two and a half hours of music to commemorate the life of one of ambient’s more insightful and imaginative figures. The complete playlist is as follows: Read more

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Mixtape #16 : Vox Masculus (In Memoriam Ian Curtis)

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Thirty years ago, Ian Curtis, lead singer and prime mover of Joy Division throughout its short-lived existence, took his own life. i can’t and won’t claim to have known anything about this at the time (being a mere six years old, my own musical journey had barely begun, let alone made it as far as the emerging post-punk scene), and i continued to know nothing of Joy Division until around 1982, when the combination of buying the 12″ vinyl of “Blue Monday” (on a whim; i liked the artwork) and my growing fondness for the more gothic end of the growing indie scene made me conscious of Joy Division’s significance. Undoubtedly worthy albums, Unknown Pleasures and the posthumous Closer only begin to hint at where the band might have gone next; whether it would have led down the same path as that taken by New Order is impossible to guess. The death of a celebrity interests people for all the wrong reasons; what matters is that Curtis was a fascinating creative individual, whose talents as a singer and a lyricist had only just begun to reach fruition. It seems entirely appropriate, therefore, to dedicate this new mixtape – focusing on male vocalists – to Ian Curtis’ memory. Read more

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Mixtape #15 : Late Night

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It’s been a while since the last mixtape, and i’ve decided to return to the theme of the the first two mixes, music particularly suitable for late night listening.

Steve Peters‘ work is always fascinating, and his field recording project Here-ings is a masterpiece. i wrote about it at length early last year, and its profound sense of hush, allowing the space and its environment to speak, is unparalleled, and a fitting way to start this sonic foray into the night. Lovesliescrushing have dominated my listening in 2010; their lavish 2CD box-set Girl. Echo. Suns. Veils. arrived a few weeks back, and earlier this week Crwth (Chorus Redux) arrived. As the title suggests, it’s a retake of Chorus, their superb classic from 2007, as laden with velvet gentleness as the original (the CD comes with a voucher to download the original free of charge, so you get the best of both worlds). Ambrose Field‘s Being Dufay was one of my best albums of 2009, and the whole release is arguably best heard at night, when everything else is still; this is especially true of “Sanctus”, which emerges from the solo voice into some breathtakingly beautiful textures. sc140 was a project in conjunction with The Wire magazine, where composers wrote short snippets of Super Collider code, no longer than the length of a tweet (140 characters). The result is a mixed success but Nathaniel Virgo‘s contributions are invariably engaging; the pink noise in this track, punctuated by deep booms takes on the transparency of a field recording, all rain and thunder. Read more

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