Amanda Palmer

The Isolation Mixtapes : A

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Due to the ongoing battle against COVID-19, many of us throughout the world are currently experiencing various states of lockdown and isolation. That’s not a situation that looks like it’s going to change significantly for the foreseeable future, so today i’m beginning a new weekly series of mixtapes on 5:4The Isolation Mixtapes. i very much hope that these regular doses of fabulous, fascinating music will go some way to relieve the monotony and make our time isolated from friends and loved ones a little more bearable. Just as importantly, they’ll provide plenty of ideas for music worth buying – and thereby help to support the industry a bit.

The Isolation Mixtapes will be a separate strand from my usual quarterly mixtapes (which i’ll be pausing during this period), and while they won’t have a specific theme, i have given myself some simple rules in order to be able to compile them relatively quickly. i’m making these mixtapes an opportunity to look back over the last decade, so everything will have been released during the years 2010 to 2019. In tandem with this, i’ll be working my way through the alphabet, one letter at a time, so this first mixtape in the series features composers, artists and groups that all begin with the letter A. Two tracks from each year are allowed, making for a total of 20 in each mixtape, and the tracks should be no longer than 7 minutes’ duration. None of the tracks will have been included in any of my previous mixtapes, and in general, i’m going to be favouring music by artists whom i haven’t featured before. So those are the rules, and i hope they’ll make for an interesting, eclectic whistle-stop tour through some of the very best things i’ve listened to during the last ten years.

Here’s the tracklisting in full, together with approximate timings and links to obtain the music – and now, more than ever, if you like what you hear, do please buy the music. As usual, the mixtape can be downloaded or streamed via MixCloud. Read more

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Mixtape #13 : Vox Femina

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Today finds me feeling not at all well, so i’ve kept myself occupied making a new mixtape, with a theme i’ve wanted to explore for a while: female vocalists. At a guess, i’d say i listen to more female singers than male, and the content of this mix reflects a combination of artists with whom i’ve become familiar only recently, and others i’ve loved for many years.

The wonderfully-named Scout Niblett (who sounds as though she ought to stand four feet tall) takes a refreshingly sparse approach to her brand of rock; she also plays both drums and guitar, and her songs have a basic, elemental quality to them; that’s certainly the case in “Hot to Death”, a song that moves abruptly from soft fragility to raging fury. Peaches needs no introduction; her hypersexual songs vary wildly in their ratio of credibility to crassness, but 2003’s Fatherfucker is, i think, her best achievement, with the claustrophobic (and, for once, sex-absent) “Operate” its standout track. Better known under her initials AGF, Antye Greie-Fuchs brings a demonstrably poetic sensibility to her electronic experiments; her most recent release, Dance Floor Drachen, available free (link below), contains some of her most rhythmically engaging work to date; “TURN IMPOTENT” is enhanced further with stomach-wobbling bass pulses. “Hyperballad” remains one of Björk’s best songs, as well as one of her most remixed; this version is courageously simple, eschewing almost any kind of rhythmic movement, allowing the powerful words to attain a hypnotic vividness. No less hypnotic is Fovea Hex‘s Neither Speak Nor Remain Silent trilogy, which must rank as one of the most imaginative song-sequences ever made. “We Sleep You Bloom” palpably betrays the handiwork of Hafler Trio’s Andrew M. McKenzie underscoring Clodagh Simonds vocals; it’s simply exquisite at every moment. Occupying slightly darker but equally dreamy territory is Julee Cruise, the singer particularly beloved of David Lynch; her distinctive voice (with barely a trace of vibrato) is as integral to Lynch’s Twin Peaks saga as Badalamenti’s dark string writing. Her first album, Floating into the Night, dates from the same time as Twin Peaks, and could well be thought of as an offshoot from the series; “The Swan” is the album’s most poignant moment, the melancholic harmonies left without resolution. Deeper melancholy still from Daisy Chapman, whose new album, The Green-Eyed, is launched at the end of this week (more about this soon). “Words in Dirt” is one of her most subtly layered songs, the simple piano writing enveloped in floating additional voices, with Daisy’s own powerful vocals at the core. Read more

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