New electronic work: [ULTRA]—infra

Posted on by 5:4 in i, Premières | Leave a comment

Self-promotion time once again. Today i finished a new electronic composition, [ULTRA]—infra, a second work in the series begun last November by Negative Silence (detail). It’s being premièred next Monday at a concert of electronic music at Birmingham Conservatoire. i know many (most?) readers of 5:4 aren’t in the UK, but if any of you do happen to be in the area next Monday evening (if so, let me know), you’d be very welcome to come along; starts at 7.30pm. A little more info about the piece here.

Tags:

Future Imperfect: Freezepop – Form Activity Motion

Posted on by 5:4 in CD/Digital releases | 3 Comments

Dear oh dear. It wasn’t terribly long ago that i was lauding Freezepop‘s most recent album, Future Future Future Perfect, and it was with some excitement that i approached their brand new release, a remix EP, the title of which would do Kraftwerk proud: Form Activity Motion. Essentially, just two songs have been chosen for the venture: “Frontload” and “Thought Balloon”, two of the best songs from the album—and this is where the problems start. In choosing a pair of such high quality songs, they’re immediately laying down the gauntlet to remixers to do something that can live up to those originals… a gauntlet that is most emphatically not picked up. One of the most prominent problems with these attempts is that they’ve clearly been created by people with minimal understanding of the harmonic direction of the originals. It’s hardly sophisticated stuff, of course, but in both songs it’s quite subtle, and certainly very effective; in many of the remixes, the harmonic progressions have been bowdlerised as though they’d been left in the hands of beginner music students. Read more

Tags:

Cut and Splice 2005: John Cage, Yasunao Tone, Signal (Frank Bretschneider, Carsten Nicolai & Olaf Bender)

Posted on by 5:4 in Miscellaneous | Leave a comment

Returning to the archives, here’s an eclectic variety of electronic music from the 2005 Cut and Splice Festival in London, beginning with the archetypal cut and splice work, John Cage‘s Williams Mix. The piece sounds as wonderfully kaleidoscopic as ever, its fast-edit approach causing much the same effect as 4’33”, rendering no sound incongruous, and its all-too-brief duration still surprisingly modern after more than 50 years. In Paramedia-Centripetal by Japanese composer Yasunao Tone, the music emanates from Tone’s ‘performance’ on a graphics tablet of a number of calligraphic symbols, and i suspect this was more engaging to witness than it is merely to listen to; bereft of visuals, the material itches frenetically throughout, with occasional similarities to the sharp juxtapositions of Cage’s piece (and towards the end, to Jonathan Harvey’s Mortuos Plango), but ever with the sense that something important was missing. Indeed, after a while, the comparative similarity of the material coupled to its relatively narrow pitch range (deep bass sounds are virtually non-existent), and lengthy duration (almost half an hour) lend the piece a dull, even irritating quality.

The festival included a focus on three composers associated with the German Raster-Noton label: Frank Bretschneider, Carsten Nicolai (aka Alva Noto) and Olaf Bender (aka Byetone). An interview with Frank Bretschneider is illuminating, particularly when he speaks of the issues he and the related composers experienced when first presenting their music, and how it relates to electronic, contemporary and other traditions. Bretschneider comments on the disinterest shown by record labels towards their work, as it didn’t (he says) correspond to existing traditions in contemporary music; although why no-one felt the connection to minimalism is beyond me. With its emphasis on rhythm, and without depending on tired quasi-‘tonal’ harmonic ideas, it’s the kind of minimalism i can engage with; it’s “in your face”, confronting the listener with unavoidable glitches, blips and poundings, and all the better for it. Bretschneider’s untitled piece that follows is a superb example of this, exciting and irresistible, at times seeming to evoke the complexity of African drumming patterns. Read more

Tags: , , , , , ,

Dark, scintillating gems: Johnny Hollow – Dirty Hands

Posted on by 5:4 in Miscellaneous | Leave a comment

Mmelancholy, theatricality and an understated gothic darkness pervade the second and most recent album by Johnny Hollow, Dirty Hands, released last year. And it’s just as well that these qualities are understated; the authentic, original traits of the 1980s indie ‘goth’ have become so hideously contorted into the present-day big label ’emo’ fake that bands seeking to allude to these dark characteristics do well to keep them in check. But there’s not the barest hint of inauthenticity in Johnny Hollow’s output, which begs the question of why this Canadian group is not more well-known. Dirty Hands ended up 19th on my top 40 releases of 2008, and rightly so; it’s a splendid creation, blending instrumental sounds (piano, strings) and electronics into the indie-goth mix, resulting in a music with impressively broad scope. Read more

Tags:

Update: Steven Wilson – Insurgentes

Posted on by 5:4 in CD/Digital releases | Leave a comment

Further to my recent post about Steven Wilson‘s fantastic album Insurgentes, there have been developments. For those fancying themselves as a budding remixer, Wilson has made available material from the opening track, “Abandoner”; go here for more info and the audio stems—there’s also a very nice, mellow remix on there by Engineers, well worth checking out.

Of rather more interest, though, is that there’s finally an alternative for those who missed out on the initial deluxe 2-CD edition, limited to 3,000 copies. Of course, if you really want to, it’s possible to find copies on eBay, but you’ll end up paying in the region of £150-200 for it. On the other hand, the Japanese edition has recently been released, on an HQ CD, with a 40-page booklet, and—crucially—the second CD containing the additional tracks not available elsewhere. There don’t appear to be many copies floating around yet, but prices are much more reasonable, around £40-50. For two such auctions, simply look for ‘Insurgentes’ on Ebay or just go here or here, or if you want to save even more money (but may have to wait longer), take your chances with cdJapan here.

And finally, an HD version of the new “Harmony Korine” video can be seen here.

Tags:

“a hush, almost sacred”: Steve Peters – Here-ings

Posted on by 5:4 in CD/Digital releases | 2 Comments

As will have been obvious from my two “Best of” posts at the end of last year (here and here), i’m very taken with the work of sound artist Steve Peters. i’ve been spending a lot of time with his work of late, and one release has particularly impressed me in all sorts of ways. Peters is clearly a composer with both an acutely sensitive ear as well as an innate sensibility to the contexts in which sound occurs; nowhere is this better illustrated than in Here-ings.

Subtitled ‘a sonic geohistory’, Here-ings takes the relatively unusual form of a book and CD, the former illuminating the contents of the latter through a combination of prose and poetry (also by Peters), plus photographs contributed by Margot Geist. Essentially, the project consisted of Steve Peters spending a great deal of time at a site in New Mexico called The Land, set aside for site-specific art that engages with the environment surrounding it. Feeling that he would prefer to let the place ‘speak for itself’ rather than asserting his own creative impulse, over the course of a year, Peters made a series of hour-long field recordings at The Land, each occupying a different hour of the day, totalling 24 hours of material. Furthermore, each hour was recorded at a different location within The Land, so his recordings succinctly capture the entirety of The Land, throughout a year, conflated into a day’s worth of sound. Read more

Tags:

Like a ton of feathers: Morten Riis – Digital Sound Drawings

Posted on by 5:4 in CD/Digital releases | Leave a comment

Many moons ago, i wrote a retrospective of the work of Ryoji Ikeda, composer of some the finest raw digital music yet created. It’s an unfortunate corollary that Ikeda, like all great innovators, has a sizeable cluster of imitators (‘flattery’ be damned), many of whom form part of the now woefully tautological output from the once interesting Raster-Noton label. But something quite new appeared today, from the Crónica netlabel that i’ve praised so highly in the past. Out today is the fifth of their ‘Unlimited Releases’ series: Digital Sound Drawings by the Danish composer Morten Riis. The short programme note speaks of these six compositions being “composed through the drawing of images and their direct conversion into sound”, which brings to mind the well-known spectral imagery occasionally used by, among others, Aphex Twin, Venetian Snares and Plaid (about which more can be read here). Riis’ compositions are quite different, however, more akin to ‘sculptures’ than anything else, something that becomes strikingly apparent when the music is listened to using audio editing software, as recommended by the composer. i found this a fascinating way to listen, proving revelatory about the sound structures Riss has created. Read more

Tags: