Death and transfiguration: the music of Celer

Posted on by 5:4 in Commemorations, Featured Artists | 2 Comments

A little over a week ago, i began writing a post. Here’s how it began…

At the close of 2008, when i posted my favourite albums of the year, i mentioned that the list was necessarily provisional. Six months and a considerable amount of listening later, i’ve now realised there’s one group that is conspicuous by their absence. At least, they were partially present, in the brief mention i made of Mesoscaphe, their collaboration with Mathieu Ruhlmann that found itself at no. 9 in my top 40 of the year’s releases. They are Celer, a duo made up of husband and wife Dani Baquet-Long and Will Long.

A couple of days after writing those words, tragedy struck: Dani died, following a sudden heart failure. Thus, Will has lost his wife and musical collaborator, and we’ve all lost a fascinating, highly creative and imaginative artist. i recently established contact with Will and Dani, and had hoped to get to know them both a little better, and conduct an interview with them soon for 5:4. So, in the wake of Dani’s abrupt passing, i feel both immense sadness and profound disappointment. As ever, though, the music lives on, serving as an infinitely more eloquent eulogy and testament than words ever could. It’s in that spirit, then, that i’m continuing to write this post.

Celer have been actively releasing their work since 2004, five years that have produced a simply astounding amount of music: no fewer than 37 releases, most of which are full-length albums, alongside a smattering of shorter EPs. But quality and quantity are difficult bed-fellows, which makes it all the more remarkable that so much of Celer’s output is so interesting and engaging. After two false starts—listening to Mesoscaphe last year and a little release in February—i’ve spent the last month listening to almost nothing other than their music, and a dizzying experience it’s been. Where to begin… Read more

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Quality control issues: Steven Wilson – NSRGNTS↑RMXS

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Remixes are an entity about which i have long felt deeply ambivalent; experience has taught one to approach them with extreme caution. In musically imaginative hands, they can of course be spectacular, teasing out new aspects of the original, even redefining it, becoming worthy to stand equally beside it, a wholly new ‘version’. Outstanding examples include Nine Inch Nails’ Further Down The Spiral, that takes the material from The Downward Spiral into yet darker territory, and the plethora of fascinating remixes found on Björk’s CD single releases over the years. More often, though, they demonstrate a lack of either imagination or even competence, doing little more than tarnishing the original, damaging irreparably those elements that made it what it was. This is taken to extremes when the original is particularly excellent; i wrote a few months back about the shameful cluster of remixes inflicted on songs from Freezepop’s brilliant Future Future Future Perfect album, and more recently two superb songs—Lily Allen’s “The Fear” and Röyksopp’s “The Girl and the Robot” have found themselves surrounded by equally trivial, pointless remixes (the “Joakim Remix” of Röyksopp’s track is especially egregious, the vocals slightly out of tune with the backing harmonies). So i was very much in two minds about the CD that fell on my doormat yesterday, Steven Wilson‘s mini album of remixes from his truly outstanding album Insurgentes, titled NSRGNTS↑RMXS. Read more

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Size isn’t everything (but it is something): Sorabji – Organ Symphony No. 2

Posted on by 5:4 in Concerts, Premières | 15 Comments

“Too many notes”, complained Emperor Joseph II to Mozart in response to his opera Le Nozze de Figaro; quite how he would have reacted to the concert that took place a little over a week ago in Glasgow University Chapel—featuring the Finale from Kaikhosru Sorabji‘s Second Organ Symphony, a single movement lasting a little over three hours—is anyone’s guess. Having said that, the temptation into which many people fall when speaking about Sorabji’s music is precisely to get hung up on size. Much is made of the colossal time spans his works occupy, and the virtuosic demands of the material, in addition to the composer’s well-known reclusiveness and apparently disagreeable manner towards—well, pretty much anyone really. Such preoccupations do little to promote an active engagement with the music itself, seeming to regard mere quantity as a feature of merit, confining Sorabji’s fascinating output within a small, narrow and woefully inadequate box of clichés, half-truths and irrelevances. Read more

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Client is dead; long live Northern Kind!

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Take a large helping of electronica, add more than a hint of retro, a dash of attitude, and then bestow on the combination a northern accent. The result might have been Client, Sarah Blackwood’s project for the last 5 years—were it not for the fact that Client have proved themselves an increasingly boring and inept outfit, their last two albums (particularly this year’s Command) stultifyingly bad and a major disappointment to those who, like myself, feel that Blackwood still has one of the finest voices in pop. Nay, nay and thrice nay, the result now has to be Northern Kind, a duo who’ve been active for a couple of years, and whose second album, WIRED:, was released last month.

But let’s rewind to their first album, 53°N, which dates from 2007. It’s an extremely impressive debut, both capturing perfectly the synthpop sound of the early 1980s (think Erasure) as well as sounding thoroughly modern; it’s not simply an exercise in nostalgia. Having mentioned Blackwood already, i should point out that Northern Kind’s singer, Sarah Heeley, has a voice of similar range but different demeanour; while Blackwood is like a female Ralf Hütter (that’s a compliment), Heeley has a gentle vibrato that nicely shades her singing, and prevents her sounding aloof. The first few tracks of 53°N get the ball rolling, but it’s not until track four, “Millionaire”, that the album really takes off, the musical scope and horizons seeming to expand instantly. The tempo isn’t that fast, but an incessant, gymnastic bassline pushes the song along relentlessly, supplemented with assorted synth melodies, electronic drums all over the place (think Pigeon Street), and some really great singing from Heeley. “Thoughts of You” at first sounds remarkably close to early Client (that’s also a compliment), although far more melodic, and the chorus is nothing like them, poignant and softly melancholic (Client, like so many, mistake cynicism for melancholy). These two are the standout tracks; of the rest, “Home” is a great song, bringing to mind mid-’80s Pet Shop Boys (think Actually), Heeley even sounding rather like Neil Tennant. Also notable is “Sometimes”, a hard-hitting song, with abrasive sawtooths cutting the air in and around the lyrics; “Loser”, after it, is similar but more up-tempo and lyrically aggressive. It’s a splendid first album, effectively presenting Northern Kind’s credentials—and at this point one must mention the duo’s synth-smith, Matt Culpin, who’s clearly responsible in no small point for their distinctive sound. Read more

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Choral Evensong – Eve of Ascension Day (Lincoln Cathedral): music by Patrick Gowers and Messiaen

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Tonight is the eve of the feast of Ascension Day, so today’s broadcast of Choral Evensong explored this theme, coming from Lincoln Cathedral.

The anthem was Patrick GowersViri Galilaei, and regular readers of this blog will know of my love for this piece, having written about it on a number of occasions. It’s a superlative work, beginning shrouded in mystery and obscurity (and listen out for what sounds like the use of a highly appropriate zimbelstern stop tinkling away above the voices); at the first, rather soft, mention of the word “Alleluia”, the whole tone of the anthem shifts, quickly building up to a coruscating series of loud Alleluias from the whole choir. A toccata paves the way for the work’s climax, a vast but brisk chorale punctuated at each cadence with further Alleluias—it’s difficult to listen without tears forming, joy is etched into every note of this piece. The choir performs this challenging piece superbly, clearly enjoying themselves, as well they should; it’s pleasing to see that Gowers’ anthem has finally supplanted (or, at least, provided an alternative to) Finzi’s over-performed God is gone up. Read more

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When worlds collide: the dazzling, bi-polar explorations of Hecq’s Steeltongued

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It’s perhaps not too fanciful to say that music today has two ‘poles’: one characterised by the presence of beats (in whatever form), the other by their absence. Occupying each end of an impossibly wide continuum, these poles have both had their creative bars set extremely high, from the intricate, rhythmically irregular convulsions of Ryoji Ikeda and Autechre to the lush, elliptical driftscapes of Aphex Twin and Biosphere. Aesthetically, there would appear to be a infinitude of differences between the two—they could even, in fact, be called opposites—and it’s no doubt a symptom of this that most artists are emphatically one or the other; i did, after all, describe them as ‘poles’, and indeed the decision of whether or not an emphasised pulse is to be a feature of an album is arguably one of the most fundamental, even defining decisions for any musician. It’s not surprising, therefore, that examples of artists combining these contrary poles in their work are rare. Alva Noto’s collaborations with Ryuichi Sakamoto (particularly Insen) bring skittering glitched beats into a softly drifting context; Aphex Twin’s career has visited both poles, although never within a single album; and most recently, Autechre’s Quaristice project saw them to some extent attempting to forge a synthesis of the two. The attempt to combine pulsed and unpulsed musics would seem to be akin to pouring oil into water; the two can sit happily together, but never actually blend. Often, the result becomes a kind of aural illusion, the listener able to focus on one element or the other, but never both at once, suggesting some kind of fundamental incongruity. That is, until now.

For six years, and as many albums, sound artist Ben Lukas Boysen, better known as Hecq, has focused on beats, creating in my view some of the very best beat-oriented music ever made (if anyone does, Hecq puts the ‘I’ in IDM)—A Dried Youth must rank as one of the most assured, successful debut albums by any artist. But from his second album (2004’s Scatterheart) onward, on tracks such as “Madison I” and “Midnight Generator”, he began significantly to deviate away from the glitching pulses into more amorphous territory, digitally stained ambient miniatures that do not simply sit cheek by jowl with the beats, but surround, penetrate and interconnect them, bonding the album together like electronic glue. Subsequent albums Bad Karma and 0000 continued to drop hints at Hecq’s ambient interest, hints that were abruptly writ large in last year’s Night Falls. Unexpectedly—and quite courageously—the album is almost entirely absent of beats, occupied by generously-sized quasi-watercolours, their canvases daubed in nocturnal ambient hues, at times (“Nightfalls”, “Red Sky”) touching on orchestral and choral textures. Sonically dark it may be, but laden with a profound and joyous light, the album was a clear statement of intent from Hecq, an assertion of the importance and value of beat-absent music in his output; and above all, it posed the tantalising question: what next? Read more

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Mixtape #11 : Joy

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Following a hectic Easter weekend, and a few days spent in Cambridge, here’s a new mixtape, the theme this time being joy. To start, a wonderful jazz-folk fusion number from Yellowjackets; Greenhouse is an album i’ve loved for years, and “Freda” is one of its most exciting tracks. It’s followed by the last movement from one of Michael Tippett‘s earliest mature compositions; strident and full of momentum, it briefly allows a moment or two of wistful reflection before culminating in an elated dance. Freezepop‘s latest album remains their one consistent release, and “Ninja of Love” is one of its most infectious songs. Continuing the pace like a runaway train is the opening track from Squarepusher‘s brilliant 2006 album Hello Everything, “Hello Meow”, filled with retro synths and riffs. Each album by Deerhoof has its share of instrumentals, and “Rainbow Silhouette Of The Milky Rain” bludgeons its experimental way along in rip-roaring fashion. The mix now enters a gentler mode, beginning with Imogen Heap‘s ravishing track “Just For Now”, all glorious (if realistic) optimism. And then Björk, who has surely composed some of the most unreservedly happy songs ever; “All Is Full Of Love” is here given extra treatment in the form of beats and strings, becoming if anything, more ecstatic than the original version. The “Communion” from Tournemire‘s Easter music shows him at his mystical best, placing the plainsong themes into complex, shimmering chords that hover and float in rapture. Julee Cruise, bless her, only knows extremes: her music is either abjectly mournful (“The Dying Swan”) or caught up in ecstasy, as she is here, in one of her most well-known songs. Read more

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