Mix Tape #30 : Prime Numbers

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For the new 5:4 Mix Tape, i’m not so much exploring a theme as a conceit. Mathematics has been a recurring feature of both my compositional & recreational activities lately, so for this new mix tape i’ve compiled a selection of music the titles of which incorporate the first 21 prime numbers. It was, i should say, quite a challenge, but the result is, i think, a highly stimulating mixture of exquisite non-sequiturs & unexpected aural connections. The mix is in part characterised by the presence of line, from a host of oblique angles, including jazz (Tartar Lamb II), avant-garde (John Zorn), math rock (Three Trapped Tigers), neo-Wendy Carlos retrosynthtronics (Laibach), indeterminacy (Kenneth Kirschner), counterpoint in extremis (Conlon Nancarrow), bassline-driven electronica (Last Step), post-romantic ecclesiastical dreaminess (Marcel Dupré) & lo-fi intimacy (Kid Koala). Elsewhere texture predominates, either with a harmonic underpinning (Ochre, Celer, Nine Inch Nails (but only just), Dick Mills, V/Vm) or from a percussive/glitch/noise perspective (At Jennie Richie, Ryoji Ikeda, Paul D. Miller, Bass Communion, @c). Read more

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New releases: Fuzzy, Craig Leon, Gareth Davis & Machinefabriek, Tim Hodgkinson

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Have you heard of Fuzzy? No, i hadn’t either – so i was pleased to explore a new compilation of music by the enigmatically-monikered Danish composer (otherwise known as Jens Vilhelm Pedersen), recently released by DaCapo. Chimes of Memory presents five works, most of them pretty hefty & which together indicate a composer of diverse interests & decidedly playful outlook. Electronics feature prominently, yet the longest piece is his 30-minute Notre-Dame Trilogy for solo organ, completed in 2006. Fuzzy’s approach to the instrument is clearly rooted in the 20th century French organ tradition but this doesn’t so much fetter the music as provide a frame of reference for it to circle around, bash against &, occasionally, flee from. As such, although regimented within highly compartmentalised structures, Fuzzy’s irrepressible humour & sense of fun keeps the music from being all about an ongoing sense of formal interconnectedness. Put simply, intuition & whim seem to have led the way, & despite some lurches into quasi-Baroque figurations & one or two rather obvious melodic homages to Dupré & Tournemire, Fuzzy more than stamps his own mark on this most unwieldy of instruments, only occasionally using it at full blast. Electronics are clearly close to Fuzzy’s heart, though, often evocative to the point of resembling TV/movie soundtracks. In a piece like B-Movies, for harp & electronics, it’s quite deliberate, the soloist acting as a foil to the electronic scene-shifting around it. But Tre tilbageblik for bass saxophone & electronics clarifies that a dramatic sensibility—& a highly accessible one at that—is an essential part of Fuzzy’s language. Read more

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New releases: Duologue, OY, V/Vm

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Among the swathe of new releases currently jostling around the 5:4 jukebox, i want to start by flagging up two interesting recent releases, both serendipitous discoveries from the panning-for-gold approach to listening that is my modus operandi these days. First is Duologue, a five-piece from London whose latest EP, Memex, has initiated a host of earworms that are continuing to burrow around my subconscious at the moment. It’s an obvious place to begin, but their sound has more than a little to do with Radiohead, & not simply due to singer Tim Digby-Bell’s ululating vocals that often sound strikingly like a less defocussed Thom Yorke. Their songs share Radiohead’s interest in playing with the multiplicity of conventions associated with rock & pop. Thus, the EP’s title track melds dream pop & autotune to strange effect, crumbling into a hard-edged coda, while ‘Operator’ bumbles along at a fair old lick, with some nicely-judged harmonic shifts in a pair of softer episodes that break up the momentum—yet overall carrying a sense of ecstatic stasis, made manifest in the song’s energetic dancefloor-infused conclusion. But third track ‘Traps’ stands out way beyond either of these, evoking music from an earlier time while conjuring up a sense of balmy humidity; this is checked by the song’s regular structural shifts where major & minor tonality are superimposed (such a simple use of dissonance but still more-or-less unheard of in music of this kind) to delicious effect. Having also spent time with the group’s first album, Song & Dance (which i also warmly recommend), ‘Traps’ is definitely their strongest song to date, mature & subtle. The EP is available in physical formats (CD/vinyl) direct from the band & in digital from all the usual places, plus you can stream it below. Read more

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Morton Feldman – The Swallows of Salangan (European Première)

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One of the most beguiling & enigmatic premières i’ve encountered in recent times took place at Birmingham’s Frontiers Festival in March, heard for the first time outside the USA no fewer than 54 years after its composition. There doesn’t seem to be any good reason for this considerable feat of procrastination; Morton Feldman‘s The Swallows of Salangan lasts a mere nine minutes, & even though the instrumentation is unusual—a chorus, plus 5 flutes (4 regular, 1 alto), 5 trumpets, 2 tubas, 2 pianos, 2 vibraphones & 7 cellos—it’s not something that would tax any established ensemble or orchestra. There must be another reason for such lackadaisicality, & one can’t help wondering whether it has more than a little to do with the nature of the music itself; i described it ‘beguiling & enigmatic’, but there’s equally a kind of aloof impenetrability that one can imagine many listeners might find not merely unappealing but downright off-putting. Yet if knees can be convinced to bend rather than jerk, there are—as always with Feldman—strange & unfamiliar rewards aplenty to be found. Read more

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Blasts from the Past: György Ligeti – Poème symphonique

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A couple of days ago marked the eighth anniversary of the death of Hungarian composer György Ligeti. To mark the event, & also begin a new occasional series on 5:4, i’d like to take a brief look back at one of the more enigmatic works of Ligeti’s career. Poème symphonique was composed in 1962, & is as much a piece of performance art as a musical composition. The performance specification is relatively straightforward: 100 mechanical metronomes are required, operated by 10 players, each metronome fully wound & set to its own tempo; all 100 are then released & allowed to tick freely until their mechanisms wind down. & that’s it, except your problems begin immediately, procuring & assembling 100 metronomes at one time & place being the most obvious. Not entirely surprisingly, the first performance triggered a fair amount of controversy, being as it was part of an official reception at the closing event of the 1963 Gaudeamus Courses and Concerts of New Music, in Hilversum, the Netherlands, an event involving local dignitaries & which was to be televised the following day. During the performance, protests broke out, & the broadcast never took place. Read more

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Gérard Grisey – Mégalithes (UK Première)

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In the last few years i’ve written about a number of pieces that languished ignored & unplayed for decades, & earlier this year another such work received its first UK performance, which was also—as far as anyone can tell—only the second time it had been heard. That fact is somewhat surprising considering that the work in question was Mégalithes, by the renowned French composer Gérard Grisey, whose work has long enjoyed an enthusiastic following throughout Europe, in part due to his innovative approach to sound, which became known as spectral music. Mégalithes predates those developments, however, composed in 1969 when Grisey was just 23 years old. The combination of that striking title & its scoring for 15 brass instruments (4 trumpets, 4 trombones, 6 horns & tuba, distributed around the performance space) suggests not so much a composition as a granite-hewn edifice. Yet Grisey’s motivation was neither hard nor impersonal; described as an “oeuvre composée à la mémoire des victimes du Biafra”, Mégalithes commemorates the million-plus innocent victims massacred in the Nigerian Civil War, which took place through the last three years of the 1960s.
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CD roundup (gli altri)

Posted on by 5:4 in CD reviews, Digital reviews | 5 Comments

Having recently examined the more interesting soloistic & orchestral new releases, it’s time to give an overview of the best of the rest, music that doesn’t fit quite so easily into nice categories. First, released today on the Innova label, is Sunken Cathedral, the new album from Korean-American composer & singer Bora Yoon. Described as “a sonic journey through the chambers of subconscious”, the collection of songs that comprise Sunken Cathedral are a testament to Yoon’s fascination with sound design, married to a vocal approach that evokes a kind of ecstatic mysticism (or should that be mystical ecstasy?). It’s a quality writ large at the outset, refitting Hildegard of Bingen into a soft ambient driftscape, but throughout the album it reveals itself in increasingly subtle & unexpected ways. Yoon’s ear is clearly very fine-tuned; a dreamy setting of the Latin In Paradisum text is encased in the sounds of a scrawling pen, dogs barking, gentle bow tappings on a viola, jangling chimes, the rustling of Bible pages, a pair of Buddha machines & — my favourite — “subwoofing spoons”. It’s heady, even intoxicating stuff, with absolutely no sense of novelty to any of it; each sound, literally, rings true.

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