Mixtape #9 : Best of 2008

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Today 5:4 is one year old, and to celebrate that—and continue the celebration of the best albums of last year, here’s a new mixtape, featuring tracks from each of those albums. Not surprisingly, it’s the most eclectic mix so far, and also the longest, just a few seconds shy of 3 hours. Start 2009 with the best of 2008—enjoy!

Here’s the tracklisting in full: Read more

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Best Albums of 2008

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* Please note this list has how been superseded by the one on the Best Albums of the Years page *

It’s been difficult deciding what i feel are the best albums of 2008. Partly, because i’ve listened to so many (of the 667 albums i’ve listened to this year, 141 of them were released in 2008), but also because i’m conscious of a number of albums that i haven’t yet listened to, and which could well appear in this list. Anyhow, all lists of this kind are provisional, so as things stand today, here are the 5:4 Best Albums of 2008: Read more

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Best EPs of 2008

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It’s been a fascinating year for music. And so, partly because i love making lists(!), here are the 5:4 Best EPs of 2008 (my top 40 albums will appear tomorrow):

10 | Belong – Colorloss Record
Creators of some of the most poignantly decayed music ever, Belong have excavated four more relics in this lovely EP. Whiffs of the source material hover just too far to be resolved, while chord progressions wistfully undulate somewhere far, far beneath. Quite how long they can continue in this direction is hard to say, but for now their originality in this kind of music is absolutely first-rate.

9 | Operator Please – Just A Song About Ping Pong
The best-known (but not the best) song by Operator Please, this EP (mentioned in my review a few months back) contains a superbly danced-up version of the title track: the Kissy Sell Out White Stallion Extended Remix. It, together with the original version, perfectly capture the wonderfully breathless quality of this band’s music.

8 | Operations – Cold Months
Beautifully packaged inside a piece of felt (photos of my copy can be seen here), sealed with a safety pin, Chris Anderson’s latest release is an introverted masterpiece. As suggested by the title, this comes across as ‘wintry’ music, conjuring up potent images of wistfulness and nostalgic yearning. The most outstanding example is the short central track, bearing the enigmatic title “( )”, where a fin de siecle gramophone record utters its last gasp of music, a rapturously beautiful fragment of clarinet and strings. It’s astoundingly lovely, and my favourite track from 2008.

7 | Ian D. Hawgood – Tents And Hills
The latest release from the interesting Luv Sound netlabel (free download available here), described by them as “a thick miasma of overtones and shifting colors”, which is a pretty fair assessment. Hawgood has a real gift for ambient, although for the most part the textures he creates are far too interesting to ignore—but that’s hardly a bad thing. All too brief, but very satisfying; opening track “October” is particularly good, its dreamy shimmering finally coalescing into rich octaves.

6 | irr. app. (ext.) – Enterruption Hermetic Archival Cassette Series 3
Just two tracks lasting barely a quarter of an hour, but this is Matt Waldron at his obtuse and recondite best. Not quite as glaringly surreal as his Aspiring to an Empty Gesture, also released this year, this is nonetheless a rich salmagundi, taking in a range of aural shapes that belies their brevity. A number of releases are supposedly forthcoming, so hopefully 2009 will be an exciting year for irr. app. (ext.). Read more

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Nine Inch Nails – The Definitive NIN

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Nine Inch Nails‘ music has appeared on here on a number of occasions. A couple of years ago, Trent Reznor unofficially released three compilation albums, each exploring a different aspect of his output. The three volumes of Nine Inch Nails: The Definitive NIN are titled The Singles, Deep Cuts and Quiet, and together they comprise an effective “Best Of” collection. These releases have previously only been available as torrents, but as they’ve now been around for a while, download speeds aren’t what they were; so below are links to download all three volumes much faster. All three are exactly as Reznor released them, including full high-resolution artwork and an HTML page with further information; the music is (sadly) in mp3 format, at (even more sadly) 192Kbps, but hey – it’s free. Here are the links, together with a complete tracklisting for each volume. Read more

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Approaching future pop perfection: Freezepop

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2008 seems to be drawing to a close with surprising alacrity, and already i’ve started to see a number of “Best of 2008” articles appearing. Rest assured i’ll be doing my own individual pick of the year’s highlights towards the end of the month. Meanwhile, let’s turn our attention to a group whose last album was one of 2007’s best releases.

Freezepop only came to my attention earlier this year, through an episode of the latest season of The L Word, a show that features a surprisingly eclectic (and high quality) selection of music. Since then, i’ve trawled their back catalogue, and it’s been an interesting experience. To be fair, their earliest output is decidedly hit-and-miss, with emphasis on the latter of those epithets, but—and it’s an important but—nothing really bad afflicts those releases. Their first album, Freezepop Forever, released in 2001, sounds like a fairly typical J-pop offering (a Japanese track title seems to confirm the allusion), a kind of music that achieves popularity principally through downright quirkiness. It also strongly betrays Freezepop’s affiliation with the realm of computer game music; all in all, it’s just too transient and bound-up in stylistic conventions to be terribly engaging. The following year’s Fashion Impression Function is, on balance, even less engaging, but demonstrates the makings of a much more individual sound, smoothly blending electropop trappings old and new, introducing interesting structural variety and bringing new intimacy to Liz Enthusiasm’s vocals. Read more

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Mixtape #8 : Versions

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After far too long a hiatus, here’s a new mixtape, this time exploring some of my favourite cover versions. To be clear, none of these tracks are what i’d call ‘remixes’, which i think of as a separate, quite different discipline; these are good ol’-fashioned covers of some great original songs.

t.A.T.u.’s version of The Smiths‘ “How Soon Is Now?” stands out on their first album, 200Km/h in the Wrong Lane, partly because it’s the only cover version, but more because of how utterly good it is. While i always was a fan of The Smiths, i’d actually far prefer to listen to t.A.T.u.’s rendition of it, their vocals somewhat less restrained than Morrissey’s. “Here’s Where The Story Ends” has been covered by many artists, and i’ve included the most recent, by Tin Tin Out featuring Shelley Nelson. Their version of the song is rather passionless, but this remix of it (the “Canny Remix”) saves the day, a dance version that shows off Nelson’s superb voice admirably. An old classic, “Blue Moon”, is given a fantastic big band treatment by Cybill Shepherd, taken from the soundtrack to the 80s TV series, Moonlighting. Shepherd’s voice is simply astounding, in what is my favourite version of this timeless song. Tori Amos makes several appearances in this mix, simply because she takes a more imaginative approach to her covers than any artist i’ve come across, always presenting the song in a new light, teasing out new connotations from the original. First up is her utterly deconstructed version of 10cc‘s epic ballad, “I’m Not In Love”, taken from her album of covers, Strange Little Girls. All sentimentality has been stripped, the music standing bare and heavy, with a palpable sense of menace; it’s beautiful and gently horrifying all at the same time. Read more

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The Barbican, London: Drifting and Tilting: The Songs of Scott Walker

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Last night, the Beloved and i were fortunate enough to be at the Barbican for the final performance of the three-night-only run of Drifting and Tilting: The Songs of Scott Walker. Devised by Walker himself, the performance comprised eight of his songs—taken, no surprise, from The Drift and Tilt—re-imagined for a visual presentation, the vocals delivered by a variety of singers, including Jarvis Cocker, Dot Allison and Damon Albarn. Booked many months ago, this is one of the most anticipated events i’ve ever attended, although i’ll confess i was uncertain of how successfully other singers would be able to bring off Walker’s utterly unique creations. As usual for me, the days leading up to it were filled with Walker’s music, especially Tilt and The Drift, which only fuelled my excitement.

Before the evening performance, the Barbican had sensibly programmed Stephen Kijak’s documentary about Walker’s career, Scott Walker: 30 Century Man. i’d not seen the film before, and found it totally enthralling, even more so considering—to my surprise—how much Scott Walker himself discusses his output, in addition to the fascinating glimpses into the production of The Drift, including a remarkable scene where a percussionist repeatedly thwacks a side of meat, urged on by Walker from the mixing desk. It also set the scene for the show to follow, including contributions from many of the singers taking part. Read more

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Gently ruinous yet strangely static: Implex Grace – Through Luminescent Passages II

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Another netlabel churning out the good stuff is Distance Recordings; in fact, the stuff is so good it’s a shame they haven’t released anything in a physical format; perhaps, in time they will. Distance’s first release was Through Luminescent Passages I, discussed on here back in July, created by a relative newcomer on the ambient noise scene, Implex Grace, a.k.a. Michael Perry Goodman. In that post, i explored the contrast presented by that album and its successor, the astonishing The Black Tapes EP; at the time, i didn’t really hear Black Tapes as a progression from TLP I, but rather as two parallel releases stemming from the same, highly turbulent, creative source. With the release earlier this week of the second Through Luminescent Passages installment, things have become very much clearer.

The opening track, “Sunrise Over Paradise”, instantly reveals its source material (a song from the early ’80s, but i won’t spoil it for those who don’t know which), and i quickly found myself wishing that Goodman had covered his tracks a little better, as the rest of his music keeps the originals happily anonymous. The gradually increasing sense of disintegration seems at odds with the title, more akin to a sunset than sunrise; not the only occasion when i’ve found myself puzzled at the relationship between the music and its title. It’s followed by “Archive Of Truths”, more lengthy but not really exploring a more interesting idea; this opening pair comes across as a largely inconsequential couple of tracks, sketches rather than fully-realised ideas.

The first track to show real promise is the initially resonant and bell-like “The Prophecy -or- The Paradigm”. It soon yields to a vast, buzzing morass, at the heart of which repeats a sombre, descending phrase, tolling like deep, funereal gongs. While very simple, the effect is utterly hypnotic, creating an aural environment that pulls the listener into its midst and holds one there, encouched in an overwhelming outpouring of sound. It is a superb synthesis of the more ambient soundscapes from TLP I with the abrasive onslaught of Black Tapes, in the process clarifying both those earlier releases. Read more

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Heavy radiance: Tu M’ – Is That You?

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Netlabels are a curious phenomenon. On the one hand, they’re rather like havens for creatives to inhabit, artistic agglomerations producing wildly (un)predictable output; on the other, their surprising dedication to giving music away free of charge seems to have abandoned any hope of remuneration for creative endeavour. It’s hard to see them as the future; for now, at least, they’re fascinating and very useful; a gift horse into the mouth of which i have no intention of looking. Some netlabels have made the mistake of becoming stylistically typecast (e.g. one – and a feeble style at that), while others seemingly vanish overnight (the most recent being Nikita Golyshev’s excellent Musica Excentrica, that one can only hope returns soon). The best, however, chart an altogether less predictable path through territory that is often radical and challenging. Crónica is one of my favourites, a netlabel combining physical and digital releases, some of which are free, alongside some curious accompanying paraphernalia (or, if you prefer, art) and interesting podcasts.

It was Crónica that introduced me to the Italian multimedia duo Tu M’ who, early this year, released a free EP entitled Is That You?, which quickly became—and remains—one of my favourite releases of 2008. It comprises three tracks, one for each word of that title, exploring markedly different sonic environments. The laptop—rapidly becoming (at least, ostensibly) a sine qua non for the budding composer—is the instrument of choice for Tu M’, but this is very far from obvious in the opening track, “Is”. It’s an organic, woody composition, with clarinets and marimba pervading most clearly through the warm fog that drifts stodgily for its 5-minute duration. Tu M’ have struck a critical balance here; the sounds are obviously treated and manipulated, but at no point lose that essential quality that betrays a raw acoustic origin. It’s beautiful and tragic, a dirge-like procession that is as moving as it is striking. Read more

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Quixotic risks: Deerhoof – Offend Maggie

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The week before last saw the release of Deerhoof’s new album, Offend Maggie. After the undiluted artistry and infectiousness of 2007’s Friend Opportunity, this was a definite highlight in the calendar, made all the more tantalising by the performance of half of the songs at their concert in Brooklyn’s Prospect Park back in July. i have to confess that the first listening was a real disappointment, and i feel sure this is because i was quietly hoping for “Friend Opportunity II”. From the outset, there’s a much more stripped away approach, which gives the songs a delicate, less rich texture than those of its predecessor. The opener, ‘The Tears and Music of Love’, for example, sounds for a while at least as though it could have been recorded in a garage, its drums sounding tinny, lacking weight. Although it develops into something more solid, this initially came as something of a shock, even more so when it leads into the light and playful—but very straightforward, even conventional—rhythms and structure of ‘Chandelier Searchlight’. All very catchy, but not the all-enthralling encounter i was anticipating.

It’s not until ‘Buck and Judy’ that they present something approximating familiar Deerhoof territory, piquant whiffs of distortion permeating its laidback rock trappings. The balance of elements is superb, as is the control over the song’s unfolding, which is given a certain leeway to meander, especially two-thirds of the way through; this kind of elastic structure is one of Deerhoof’s most interesting traits. Delicacy is laid aside in ‘Snoopy Waves’, which is dense to the point of being heady; a snippet of lyrics floating in an intoxicating blend of buzzing bass and cutting guitar motifs. It’s not surprising they don’t pursue instrumental tracks more often, as Satomi Matsuzaki’s vocals have become so indispensable a part of Deerhoof’s signature sound, but tracks like this one hint at how interesting these would be, far more so than the majority of today’s dull instrumental post-rock offerings. Read more

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Ancient and modern: Unsuk Chin – Violin Concerto, Miroirs des temps; Chris Dench – Passing bells: night

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i’ve been a fan of Unsuk Chin‘s music ever since she returned to instrumental writing in the early ’90s with Akrostichon-Wortspiel. Her Violin Concerto is awash with invention; all the talk of open strings is simply an opening gambit, from where it departs into vivid and distinctly unfamiliar territory. Often, the use of open strings is redolent of Berg’s concerto, but it’s unfair to latch onto that association, as Chin really does operate in a world apart. It’s much more akin to Ligeti’s concerto, and Chin has acknowledged this, referring to her piece as an ‘answer’ to Ligeti’s. She’s also spoken of a desire to avoid a conventional orchestral sound through the introduction of ununusal instruments; the final movement of the concerto features steel drums, which inject a fittingly exotic and unconventional twist to the work as a whole.

Miroirs des temps, with dense multi-part crab canons, is a compositional tour-de-force, but also rather strange. Composed for four solo voices (ATTB) and orchestra, it doesn’t begin in the most auspicious way, the singers sounding, frankly, drab against the gentle interest of the orchestra; and when it then lurches into pastiche, i admit i had to restrain myself from stopping listening. It broadens into more interesting areas, though, as it approaches its middle; the fourth movement, dark and indistinct, is especially exciting. But, of course, this is a “mirror of time”, and so the less interesting faux Machaut and drabness return as the work progresses; not her finest work, by any means, but equally not without some very special moments—it’s just a shame that they are only moments. Read more

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A moving aria for a vanishing style of mind: Scott Walker – The Drift

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i avoid superlatives whenever possible. If people ask me (and they do, surprisingly often) to name a favourite composer or artist or album, i invariably either deflect the question away—”i don’t really have one…”—or reflect it back at them—”i’m not sure; how about you…?”). For the most part, the best one can hope to come up with, á la Paul Morley, is a list of favourites that is true at that moment, but would be different, perhaps entirely so (but no less true), at any other time. (Morley writes about this, and many other wonderful things, in his book Words and Music, which right now i might describe as the most brilliant book about music ever written, but tomorrow, who knows…?). Hence my aversion to superlatives, and their transient—and, in any case, subjective—character. Sometimes, though, one encounters something so incredible, so marvellous, so utterly different from anything else hitherto encountered, that superlatives become the only meaningful way to express anything remotely accurate. Not surprisingly, this doesn’t happen often, despite the large amount of music to which i listen, and so when it does, it’s a real shock, a gorgeous surprise, an ineffable thrill, a rapturous provocation of everything from confusion and disbelief to gasps and tears. And as i say, when the stun and stammering have passed, one is left reaching for the acmes of language. Read more

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Live in Prospect Park: Metropolis Ensemble and Deerhoof

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i’m surprised there’s not more comment on the web about the recent concert given jointly by the Metropolis Ensemble and Deerhoof, which took place in July in Brooklyn as part of the Wordless Music series. This had been hyped up a fair bit beforehand, partly because it was bringing together two groups who have a very modern outlook, but mostly because it featured a new take on The Rite of Spring. WNYC broadcast the entire concert online; surprisingly, no-one seems to have recorded it, so links to my own recording are below. Also, some excellent photos from the concert can be seen at WNYC’s Flickr page. Now, to the music…

Metropolis Ensemble’s hour-long half of the concert began with Two-Part Belief by composer Ricardo Romaneiro, for soprano and electronics. From a gently flamboyant opening, there’s an interesting initial interplay between the electronics and the powerful melodic line, delivered superbly by soprano Hila Plitmann, who is at times required to soar extremely high. The relationship quickly becomes unclear, however, and at times the electronics seem hell-bent on undermining the soprano line, which surely isn’t the intention. At best, the electronics create an evocative, shifting backdrop for the soloist, although this is often disrupted by its gestural quality. Overall, there’s something rather primitive about the electronics’ contribution in this piece; the composer’s enthusiasm is perfectly evident (and this does, actually, go some way to covering some—not a multitude—of his sins), as is his enjoyment of the sounds he’s creating; what’s lacking is real imagination. The brass make strangely occasional contributions, and it’s a huge shame they weren’t involved throughout, as the texture at these moments is truly exciting and gives a hint of what might have been. Read more

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Respectable anarchy: Operator Please

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Ok, let’s get things going again with a band i’ve been meaning to write about for a long while. i’m assuming Operator Please will be well-known to many, but i’m not sure that would have been the case, say, 9 months ago, as their profile seems to have increased significantly this year. Teenage rock bands don’t exactly have an illustrious lineage, but Operator Please—perhaps due to being Australian, which often seems to inject something ‘quirky’ (i.e. non-British) into the mix—stands apart from the posturing, arrogance and emotional tedium that drench and encapsulate the usual adolescent twaddle. It’s not just their antipodean credential though; the band is an interesting mixture, including a violinist, which has helped to cultivate an individual sound. There’s a certain amount of confusion that surrounds their releases, due to differences between Australian and British versions; this has been compounded by the very peculiar way these releases have been made available on the iTunes Store. Read more

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Fermata

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Tomorrow, the Beloved and i set off for a little over 2 weeks’ exploration of “Na h-Eileanan Siar”: the Western Isles, beginning on Skye and then gradually moving beyond into the Outer Hebrides. Therefore, a short hiatus here on 5:4; enjoy the silence.

James MacMillan – String Quartet No. 3 (World Première)

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James MacMillan‘s most recent work, the String Quartet No. 3, was premièred a couple of months ago by the Takacs Quartet on 21 May, at the Queen Elizabeth Hall in London. i don’t know either of MacMillan’s previous two quartets, but this new addition is a fairly ambitious work. MacMillan spoke in his preliminary discussion (illustrated with examples by the Takacs) of the melodic, cantabile quality of the material, and this is highly evident throughout, especially in the lyrical first movement, the principal theme of which has a distinct Jewish flavour. Strange, disjunct gestures begin the second movement, ominous and disquieted. From them, melodic fragments appear, many of them cast from a similarly disquieted mould: the viola embarks on a short restless journey, buzzing like an angry bee; later all four combine to sound like a heavily wheezing concertina. On a couple of occasions, dance figurations try to assert themselves, only to be thrust brusquely back into the maelstrom and promptly dissipated; the movement ends much as it began, one of MacMillan’s most fascinatingly strange creations. The lyricism returns for the final movement, which is the most conservative and familiar of the three. It is all melody, led powerfully by the first violin, charting a trajectory into the most achingly high regions of its E string, its three companions forming a supportive trio at its base. At the summit, it repeats plaintively, and everything turns harmonic, fading into transparency.

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Mixtape #7 : Ambient

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To conclude the little series of posts about the “ambient tradition”, here’s a new mixtape devoted to this special genre. It’s the hardest mix i’ve made so far; the temptation was, perhaps, never to stop, to create a compilation that could play into infinity—which is, after all, the point towards which the best ambient music inexorably tends. Some of the composers i’ve written about are included, but not all; the music of neither Steve Roden nor John Hudak lends itself well to this kind of mix, best heard in their own, very particular, contexts. Therefore, some additional names surface here, about whom i’ve hitherto been silent, but no less excited. Read more

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The ambient tradition: Alva Noto & Ryuichi Sakamoto – cross-cultural peace and quiet

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Having spent the last four days absorbed in the monastic pattern of life at Burford Priory, i’ve returned home with, among other things, my senses both heightened and sensitised. i’ve needed somewhat gentle stimuli, and so it seems perfect timing to return to my ambient musings, focusing on the the collaborations between Alva Noto and Ryuichi Sakamoto. While i know little of Sakamoto’s work beyond these releases, i’m something of a fan of Carsten Nicolai’s work in the guise of Alva Noto; expect a post about his music as and when. Apparently, the nature of the collaboration was rather like that of The Postal Service, the two composers working independently, sending material back and forth, each modifying it further, until both felt that the music was ready. In a way, the polarisation is extreme; Sakamoto confines himself to the piano, around and through which Noto weaves his electronic blips, glitches and patterns. “Weaves” seems entirely the right word; there’s a palpable sense that this music is like an expertly-woven fabric, and this in itself is revealing; so many times have i heard the argument that electronic sounds cannot be integrated properly with acoustic instruments, an argument that seems disproved by the resultant textures of this collaboration. Admittedly, the material is simple and restrained, often to the point of appearing austere (no surprise that i’m drawn back to this music after spending time in a monastery!), and this may account for the success of the blending. Read more

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The ambient tradition: black on black – Lustmord and the dark side of ambient

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At its best, ambient descries a vista that is vast in scope, epic in scale, often ablaze with light. However, light presupposes darkness (check Genesis if you don’t believe me) and likewise all landscapes have their shadows. From the deepest of them (perhaps their very source), comes the voice of Brian “Lustmord” Williams, ascending like a black, primordial plume. If dark ambient can be said to originate with anyone, Lustmord must be one of the prime contenders. But “dark” in more than just the most obvious, superficial sense; from his earliest experimental releases, Lustmord has unswervingly focused his attention on the blacker regions of existence and experience. Titles such as Paradise Disowned, Heresy, The Place Where The Black Stars Hang and The Monstrous Soul are poetic and wildly evocative, conjuring up worlds that are no less infinite, but of a very different hue. This is mirrored in the sources of his material, emanating from crypts to caves to slaughterhouses, from deep within a shelter to deep beneath the sea; in the preparation for his canvasses, Lustmord goes to remarkable and highly symbolic lengths to acquire his pigments. It has to be said, though, that Lustmord’s dark ambient associations occasionally lead him in an unhelpful direction. Akin to the teenage goth, some of his works sound almost like a parody, their darkness taken to ludicrous extremes, in the process losing all semblance of seriousness and intensity. The most glaring example of this is the relatively recent Rising, a document to Lustmord’s performance at a Church of Satan event in 2006. Both this album and its successor, Juggernaut, suggest an unfortunate development, the music sounding like it is trying rather too hard to affect an air of menace. His earlier creations are far more natural and more genuinely unsettling, their textures effortlessly blending in an aural equivalent of the black paintings of Ad Reinhardt. Like Reinhardt, one can skim the surface of the work, allowing its essential tone to envelop the senses; or one can examine more closely, and find layers that at first seemed impenetrably hidden—another example of the dual properties of the “ambient tradition”. Read more

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The ambient tradition: Implex Grace – a searing demonstration of ambient noise

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i said before that there’s more to ambient than washes of sound, but of course this kind of texture is, for better or (more often) worse, very closely associated with it. Thankfully, having spent too many years trapped in the saccharine world of (God help us) “chillout” music, ambient’s potential for drift has grown up into something very much more mature and meaningful. In no small part, it has been affected by what some might regard as its nemesis: noise. It might be fairer to call the constructions found in noise walls of sound rather than washes, but these two extremes have been drawn together to forge something utterly new. i suspect, like most ostensible “opposites”, they’ve had more in common than was immediately apparent; both noise and ambient tend to place emphasis on broad gestures within long durational expanses; both tend to occupy dynamic extremes; and, of course, like any extreme, both have fallen prey to the moronic mumblings of the talentless who have purloined the style in the hope it might bestow upon them the illusion of something approximating ability. As a texture, noise is unavoidable, so for it to lend anything of value to ambient, it is going to need to be softened and tenderised, in order to retain some semblance of Brian Eno’s “ignorability” (the inability of the listener to “ignore” noise (in Eno’s sense of the word), perhaps explains why poor music in that genre is so incredibly irritating, whereas poor ambient is a mild irritation at best).

An interesting blend of these worlds can be heard in the music of Michael Perry Goodman, otherwise known as Implex Grace. He caught my attention a couple of months back when his self-styled “debut release”, Through Luminescent Passages I, became available as a free download. i say “self-styled”, because in truth there’s been a number of minor self-releases dating back to 2004 (they can all be streamed via the vibr website; link below); nonetheless, this album is his most ambitious release to date, worthy of being regarded as his “Opus 1”. Even before listening, the track titles are highly suggestive: “Gorgeous Pale Light”, “Starlight: A Distant Shimmering Particle”, “Beyond The Cosmic Gates”; nonetheless, many are the composers who have made astronomical connections to their work, only for it to fail entirely to live up to such a lofty association; vivid titles like these are best approached with caution. But it’s immediately clear that Implex Grace is no ordinary, run-of-the-mill composer. and it’s clear too that the radiance alluded to in those titles is not merely present, but omnipresent, permeating—no, saturating—the music with incandescence, often composed in roughly equal parts of ambience and noise. “Twilight: Diamond In The Sky” is an exercise in simplicity: a delicate fragment of material (the “diamond”?) is placed within a soft harmonic bath (the “sky”?), wherein it loops merrily away, glitching here and there; it’s as though we’re watching it slowly draw nearer to us, allowed a few precious moments of closeness, before it passes us back into the beyond. “Gorgeous Pale Light” is a tough title to live up to, but the music succeeds, presenting a sonic landscape that feels by turns autumnal and/or suffused with rain (a different kind of saturation). Even longer than the first track, it opens up the scope of the album, widening the horizons still further; it’s an epic pronouncement, almost a statement of intent. Read more

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