Only Connect 2018 (Part 2)

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From the lofty architecture of Sentralen, day two of the Only Connect festival took place in the infinitely more modest environment of Skippergata, a relaxed café-bar-nightclub with various large and small performance spaces. Though the venue was low-key, the concerts were anything but.

Flautist Alessandra Rombolà’s rendition of Christina Kubisch‘s 1974 Emergency Solos – a work the composer described during the festival as her “goodbye to instrumental music” – was one of the most agonisingly authentic performances i can remember. Kubisch reflects on the stumbling blocks, barriers and expectations that confronted her as a woman musician at the time by inflicting ever more hindrances on the flautist: thimbles on all the fingertips, causing regular jams on the keys; playing on just the headjoint with a condom placed over the end – subsequently used as a bladder to elicit groaning squeaks; stuffing the instrument into a gas mask, resulting in increasingly desperate in- and exhalations, the flute buzzing and producing strained blurts of pitch before finally dying; forced to put down the instrument in order to adopt a defensive posture behind boxing gloves; and attempting to play ‘Silent Night’ while wearing mittens. Read more

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Mixtape #46 : Body

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For the new 5:4 mixtape, i’ve turned to that which is closest to us all: the human body. Not a particularly promising theme, you might think, but once i began digging through my music library the sheer quantity of body references quickly became overwhelming (take your pick whether that says something about music in general or my collection in particular). i’ve structured the mix in four sections, each begun with a track concerning the whole body: part one rises from the feet up to the waist and hips, part two moves up the arms from the fingertips to the shoulders and chest, then there’s an interlude focusing on the heart (the only part of the mix to delve inside the body), and finally part three ascends from the chin to the top of the head. Appropriately enough for a body-oriented mix, it’s a little tongue-in-cheek from time to time, and because of what i wanted to include i’ve relaxed my usual rule of only featuring an artist once.

The range of music encountered on the journey is as broad as you’ve come to expect from these mixes, encompassing electronica and dance (Above & Beyond, Goldfrapp, Art Of Noise, Sunken Foal, Freezepop, Peaches, Venetian Snares, Depeche Mode, Erotic Market, Ryoji Ikeda, Bloodgroup, Gazelle Twin, Prurient, Body Sculptures, Man Without Country, Purity Ring, The Flashbulb, Björk, Kate Wax), film and TV scores (John Williams, Jerry Goldsmith, Cliff Martinez, Joseph Trapanese, Aria Prayogi & Fajar Yuskemal, tomandandy, Jay Chattaway, Angelo Badalamenti & David Lynch, Howard Shore, Jim Williams, Jed Kurzel, James Newton Howard, Mica Levi, Jerry Goldsmith), light music (Paddy Kingsland, Bass Communion, Pochonbo Electronic Ensemble, The Real Tuesday Weld), pop of various chamber, rock, lyrical and plastic hues (Belle and Sebastian, Transvision Vamp, Chromatics, Björk, Anna Madsen, OY, Lene Alexandra, Chvrches, Goldfrapp, Sleep Party People, Kate Havnevik, Braids, CocoRosie), ambient (Venetian Snares, Chubby Wolf, Nordvargr, Not, Pinkcourtesyphone, David Wenngren & Christopher Bissonnette, Moss Covered Technology), leftfield and experimental (Frank Zappa, Squarepusher, Waldron, Stapleton, Sigmarsson, Haynes & Faulhaber, Grutronic, irr. app. (ext.)), and electronic (Aranos, Andrew Liles, Pauline Oliveros, Hecq, The Hafler Trio, The Caretaker, John Zorn, Indignant Senility, Daniel W J Mackenzie).

Four hours of bodily bits and bobs; here’s the tracklisting in full, including links to get hold of the music. Once again, the mix can be downloaded or streamed via MixCloud. Read more

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Only Connect 2018 (Part 1)

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At contemporary music festivals one becomes accustomed to expecting the unexpected. However, in the case of Norway’s Only Connect festival, which took place last weekend in Oslo, expectations were overturned in no small part by the weather, due to the country experiencing its warmest May in over 70 years, basking in constant sunshine and 28°C temperatures. As a consequence this was new music not only at its most exciting, but also at its sweatiest, for performers and audiences alike. Organised by nyMusikk, Norway’s 80-year old centre for experimental music and sound art, Only Connect’s two days of concerts took the festival name seriously, arranging the concerts such that each day was essentially a journey round or through a single space. Read more

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The Tolmen Centre, Constantine: Kevos – From this world to the next

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The extent to which contemporary music is well-represented in ‘the provinces’ of the UK, away from major cities, is extremely variable and in the case of Cornwall it’s not really pushing a point to describe it as being almost non-existent. Kevos (Cornish for ‘contemporary’), a six-piece ensemble formed in 2016 by Patrick Bailey (who directs the group) and dedicated to new music, is therefore not merely an honourable exception to the rule, but something altogether more rare and vital. Nominally based in Truro, in the middle of Cornwall, Kevos take a peripatetic approach to their concerts, performing as far afield as Newlyn to the west, Falmouth to the east and the lovely Kestle Barton arts centre to the south (not far, in fact, from the most southerly point of the British mainland). Kevos’ geographical scope is matched by the repertoire they take on, which in the last year has included music by Steve Reich, Alison Kay, Berio, Charlotte Bray, Richard Causton and Judith Weir. Kevos clearly set their sights ambitiously high, and deserve huge amounts of kudos and encouragement for what they’ve achieved thus far.

A few nights ago i was fortunate to catch the last concert of their current season, titled ‘From this world to the next’, this time taking place at the Tolmen Centre in the tiny village of Constantine. Kevos’ concerts occasionally feature electronic music alongside instrumental works, and they opened with Jonathan Harvey‘s Mortuos Plango, Vivos Voco. Whenever i’m about to be confronted by this piece – so familiar and, composed in 1980, increasingly un-contemporary – i instinctively wonder whether it has anything left to give. Personally speaking, i’ve heard it in practically every possible context, both in concerts and at home, in small halls and vast spaces, through speakers and headphones, in its original 8-channel version and condensed down to stereo. Yet when the piece plays and the bell and the boy sing out once again, i find that that familiarity is at once reinforced and completely undone. Somehow it continues to speak with incredible freshness and vitality; despite its 38 years of age, it could almost have been composed last week. Furthermore, despite not having the finest of sound systems, its rendition in the Tolmen Centre – heard in its full, 8-channel glory – was nonetheless compositionally crystal clear, demonstrating Harvey’s sense of inquisitive play in his treatment of harmonics and morphemes, as well as the work’s sublime balance of densities and registers. The polarised conclusion, high cluster-chords intoned over the low tolling bell, was so striking it suggested that not only does Mortuos Plango, Vivos Voco have plenty more to give, but that we never really know the piece in its entirety; just like all those complex overtones of the Winchester bell on which the work is based, there’s always so much more to be discovered within. Read more

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Gigs, gigs, gigs: Night Liminal; Who knows if the moon’s

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A couple of performances of my work are coming up soon. Most imminently is the #EarBox series of art and music performances organised by the University of Kent. Their next event features my 2012 ambient work Night Liminal in conjunction with a new exhibition titled Extending the Frame. It’s taking place at 1.10pm on Thursday 24 May at Studio 3 Gallery, in the University’s Jarman Building, and admission is free. Further details can be found on the University’s music department blog, and you can read all about Night Liminal here.

To mark the occasion i’ve created a 50% discount code for the digital download of Night Liminal, valid until the end of this month. Head over to the Bandcamp page and when adding to the cart enter the code earbox to get the discount.

And next month soprano Jessica Summers will be giving the world première of my song for solo voice Who knows if the moon’s. Despite lasting a mere two minutes, this little song – a setting of E. E. Cummings’ well-known poem – is a piece i once thought i’d never complete. It dates back to my undergraduate days; i broke off working on it in May 1995 following the abrupt death of my father, and could never bring myself to return to it. It then sat around for nearly two decades until i rediscovered the sketches and finally managed to complete it during my PhD at the Royal Birmingham Conservatoire. Partly because of how personal it’s become, i’ve not shown the piece to many people, but i’m delighted that Jessica will finally be performing it; it really is high time i let go of this music.

Accompanied by pianist Jelena Makarova, the concert is one of Jessica’s Living Songs recitals, and takes place at 1.15pm on 12 June at St Mary-at-Hill Church in London. The concert also includes music by Debussy and Stuart MacRae. More details can be found at the church’s website, and the Living Songs project can be followed on Twitter at @LivingSongs21.

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Robert Scott Thompson – Of Natural Magic and the Breathing of Trees; William Price – Rush Hour

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A couple of noteworthy albums of electronic music by US composers have found their way to me recently. Of Natural Magic and the Breathing of Trees by Robert Scott Thompson was released last year and pretty much tells you everything you need to know in that title. Aesthetically, the five pieces contained on this album are a melding of acousmatic and ambient, with some implied whiffs of new age, quasi-spiritual incense thrown in. On the one hand, there’s something rather dated about the timbral palette of these works – it wouldn’t have been a surprise to learn they were composed in the mid-1990s – but this isn’t necessarily an issue (indeed, of itself this could be regarded as appealing) and in any case the way the ambient outlook – which dominates overall – is fleshed out with acousmatic details makes this a negligible concern.

This ambient outlook manifests primarily at a structural level. Put simply, there’s a looseness to the structure of these pieces such that their moment-by-moment activity is more significant – or, at least, attracts more focus – than their long-term direction. It’s not unreasonable, in fact, to say that many of them don’t have a clear overall sense of direction, and the extent to which this feels problematic varies from piece to piece. In the case of the title work, it is a problem; there’s a lot to enjoy – the mix of cimbalom- and bell-like pitches interspersed with soft bursts of turbulence, and particularly the way Thompson creates ‘melodies’ apparently from the noise of metallic friction – but due to its half-hour duration it ultimately comes to feel meandering and inconsequential, which for a work evidently seeking to tap into a certain meditative quality is pretty fatal. By contrast the 10-minute Magiae Naturalis really works; bringing to mind the earlier music of Adrian Moore, its ambient mindset is more potent playing out within a much shorter time-span. Read more

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José Manuel López López – Horizonte Ondulado

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My ears have recently been extensively tickled by the sound of percussion, courtesy of Horizonte Ondulado (Undulating Horizon), the latest release from the always interesting Neu label, exploring five works for percussion by Spanish composer José Manuel López López. As always, Neu have lavishly produced the album in a beautiful slipcase containing a 60-page book discussing the music, though i have to say on this occasion i found myself unconvinced – and in some cases downright turned off – by López López’s in-depth explanations. They’re interesting from an anecdotal perspective, but what’s going on in these pieces is for the most part sufficiently straightforward to make the lengthy accompanying discussions feel excessive, almost as if they’re trying to prove a point.

The music itself, performed by percussion group Drumming and Miquel Bernat, is highly engaging, generally concerned with structures demarcated by different kinds of behaviour or texture. In the case of African Winds II for two marimbas and vibraphone, the result is a cross between a moto perpetuo and a stream of consciousness, utilising an attractive harmonic language that’s mobile yet feels fundamentally grounded. Despite being somewhat monotonous as it progresses, there’s a distinct sense of fun running throughout. Solo marimba piece Ekphrasis establishes something akin to a stasis, though created from material that’s tremulous and halting in nature, the instrument seemingly half in shadow. Very gradually López López develops this into an attractive, contrapuntal soundworld that retains something of the vagueness from earlier, passing through various passages of ticking-over tremolos. Read more

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