If music was my first love, then my fascination with rhythm was the first part of that attraction; beat-driven music—particularly early hip-hop and electro—dominated my earliest teenage years. My taste in beats has evolved since that time, of course, and the selection represented here (which may well come as little surprise to regular readers) is a selection of relatively recent music. Each of them has something distinctive, something that separates it from the terrible plethora of dance music that predominates the current musical landscape (at least, the popular landscape); each of them, too, is in my opinion one of the very best tracks by that artist. Read more
Tags: Aphex Twin
, Gui Boratto
, Luke Vibert
, Venetian Snares
i’ve been interested in Thomas Adès‘ work for many years, so here are recordings of the world première performances of three of his compositions. The tale behind his miniature orchestral work These Premises Are Alarmed is interesting, if disappointing. Adès was commissioned to compose a piece for the series of three inaugural concerts at Manchester’s Bridgewater Hall, which opened in September 1996 (i was fortunate enough to attend these concerts). For some time beforehand, the word was circulated that Adès was at work on a piano concerto, which—in Classical fashion—he would direct from the keyboard. As the concert approached, however, rumours began to fly that Adès was having difficulties with the piece and things seemed to be getting rather desperate. Eventually, all that could be salvaged from the project was a mere three minutes of music, a pretty meagre offering (George Benjamin, also commissioned for these concerts, wrote Sometime Voices, a substantial work). It’s difficult to be too praiseworthy about These Premises Are Alarmed; the orchestration is interesting and lively, but there’s the ever-present sense that this is material pieced together in haste. Nonetheless, it’s a testament to Adès’ abilities that the result has such aplomb. Read more
Pretty much all of the music that qualifies for the lame but vital epithet “interesting” is found among the fringes and shadows of most people’s perception. Unfortunately, these days a great deal of dross and detritus lurk there too (the kind of feeble fodder served up on blogs such as “Deleted Scenes, Forgotten Dreams”), but that’s usually music that has placed itself at the edges actively, with the intention of disassociating itself from the mainstream. The best (or, rather, the best of the best) is there because it simply cannot be anywhere else; in fact, truth be told, it’s not even here: it resides precisely nowhere, and makes its point with a beautiful intensity of thought and bewildering clarity of utterance. With the literal meaning in mind, such as this may be called ‘Utopian’ music. The output of The Hafler Trio could be said to reside in just such a “no place”.
Various parameters need re-thinking and re-shaping in approaching The Hafler Trio’s works: this isn’t, in any conventional sense, ‘music’—nor, indeed, could it be described as ‘art’; it is something ‘other’ than either of these things. This need is, literally, mirrored in the plethora of paraphernalia that accompany many Hafler Trio releases, where text and image are frequently shown back-to-front; it suggests many things: the need to look at things in a new way, and that what appears backward may well not be; the backward writing also suggests Da Vinci’s practice of secreting his thoughts and concepts. and yet, nonetheless, these works have qualities that can be said to be both artistic and musical, and as such they provide a ‘way in’. It’s certainly a better approach than to question the author, Andrew McKenzie, who chooses to hide himself behind layers of pseudo-arcana and quasi-esoterica; this doesn’t matter, of course (outside of religion, when has it ever been profitable to shift attention from the creation to the creator?), it is the work that must command our interest (not our questions) and, in turn, it is the work’s response (not its answers) that we must face; then and only then, we shall be provoked for the right reasons. Read more
Throughout the Easter season, Client have been releasing a free EP of “Client B” (i.e. the wonderful Sarah Blackwood (whose birthday was two days ago, so the timing is apposite)) performing an acoustic set, one track being made available per week. It’s a real treat, for many reasons, not least of which being the opportunity to hear Blackwood’s beautiful voice performing in a more stripped-down context; it’s something of a reunion too, with Dubstar colleague Chris Wilkie accompanying on guitar. The tracklisting is great, a mixture of songs by Dubstar, Client, The Smiths and New Order; Sarah Blackwood sounds nervous at first, but it’s clear after a short time that she’s really enjoying herself (she introduces “True Faith” as “one of my favourite northern folk songs”!). Hearing “Not So Manic Now” and “Stars” still sends a shiver down my spine after all these years… Read more
Continuing the practice of Ghosts I-IV a few months back, Nine Inch Nails‘ new album The Slip (Halo 27) is again available entirely free of charge. The 10-track album can be downloaded in a variety of audio formats: mp3, FLAC, apple lossless and high-resolution 24-bit/96kHz WAV files (apart from mp3, these are all downloaded via torrents). The last of these is a remarkable offering; Trent Reznor seems to be the only significant artist at present who both acknowledges the reality of how listeners want to procure the music and also that they’re rather keen to have that music at the highest possible resolution. In truth, i can’t see many people downloading the high-res files, as it only makes sense if played back on high-end audio equipment. It’s possible to download any/all of the available formats, so i went for everything except the mp3; download speeds this morning were very fast, the FLAC and apple formats taking about 4 minutes each to download (the high-res files took about 40 minutes!). In addition to the music, a JPG of the cover art and a PDF booklet are thrown in; an advantage to downloading the high-res WAV files is that the individual track artwork is included in separate high-quality JPGS (as it can’t be encoded within the audio file). Read more
Today’s episode of Great Lives, on BBC Radio 4, was devoted to Joy Division’s lead singer, the late and much-lamented Ian Curtis. Many, many words have been spoken and written about this man, but the programme doesn’t stoop to probing his tortured remains or erecting pedestals to his memory.
Matthew Parris sensitively discusses Curtis’ life and legacy with poet Simon Armitage, and Joy Division/New Order bassist Peter Hook, and the result is touching and respectful, with some insights, but what comes across most—particularly from Hook—is a sad lack of understanding and palpable regret at Curtis’ suicide. The programme contains a fabulous highlight: an all too brief excerpt from an unreleased acoustic recording of Joy Division’s most well-known song, “Love Will Tear Us Apart”; Ian Curtis’ voice sounds mature, solid and entirely beautiful. Read more
Here’s the Scottish première of James MacMillan’s Symphony No. 3 ‘Silence’, broadcast last Tuesday. Don’t be taken in by that subtitle; this piece does the exact opposite of “what it says on the tin”. MacMillan is more concerned with the perception—within the human experience of tragedy and cruelty—of God gone ‘silent’, inspired by the writings of Shusaku Endo and encapsulated in Christ’s cry from the cross, “My God, my God, why have you forsaken me?”. Far from being silent, the symphony is, in fact, a work brimming with unrest, of Mahlerian scope and with suitably collossal tutti passages (fittingly, the remainder of the concert consisted of Mahler’s Das Lied von der Erde, the two works sitting well beside each other). Read more