Brian Eno

Mixtape #47 : Travelogue

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For my July mixtape, i’ve decided to take myself on an impromptu trip around mainland Europe. With the help of Google Maps, i’ve plotted a course that’s somewhat circuitous but which manages to take in most of the continent. Starting in Holland (I Was A Teenage Satan WorshipperRyoji Ikeda), we move down through Belgium (Autechre) and France (Andrew Liles) to the coast of Portugal (John Oswald). Coming back through Spain (Fergus KellySPC ECO) and detouring into France again (Karsten PflumZbigniew Karkowski) brings us to Monaco (John Debney), followed by a more prolongued period in Italy (Susanne SundførYelleJohn Williams). Then we head north through Switzerland (Johnny Williams) for a longer stay in Germany (The Noisettes, Cluster, Bath40, Marc Behrens), before heading south again, through the Czech Republic (White Sea), glancing off Italy one final time (Muséum) and then down to the southern reaches of Croatia (FURT plus) and Bosnia and Herzgovina (Francis Dhomont), ending up for a bit of R&R in Greece (Three Drives).

The journey through eastern and northern Europe initially takes us through Bulgaria (Brian Eno), Romania (The Noisettes) and Hungary (Alexandre Desplat), then we veer across to Austria (James Newton Howard) before heading north rapidly through Poland (Kate HavnevikJoy Division) as far as Latvia (Markus Reuter). A brief jaunt in Russia follows (Cabaret VoltaireBersarin Quartett), whereupon we head for the Nordic countries via Estonia (Velvcsze), passing through Finland (Brothomstates) before travelling across the Baltic Sea (Somatic Responses) to Sweden (Lady & Bird), Denmark (Iain ArmstrongScott Walker) and Norway (Isaiah Ceccarelli). The epilogue to the journey involves leaving the mainland, flying first to the Faroe Islands (Zinovia) and finally arriving in Iceland (J.Viewz).

At a mere two hours’ duration, the mix is one hell of a whistle-stop tour; here’s the tracklisting in full, together with links to obtain the music: Read more

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Mixtape #42 : Late Night

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As part of 5:4‘s tenth anniversary celebrations, i’m going to be putting out a new mixtape each month throughout 2018. While they’re quite time-consuming to curate and create, they’re also a lot of fun, and it’s been clear for a long time that the mixtapes are a popular feature on the blog. The very first of my mixtapes dates from the earliest weeks of the blog’s existence, back in February 2008, and for this new mixtape i’m paying homage to myself with a return to that original theme, music for late night listening. In fact, the whole idea of putting out mixtapes began due to the fact that i already created various playlists in iTunes with specific themes or to suit specific listening contexts, and the one i listened to most regularly at that time was a late night one.

The structure of this two-hour mix is four 30-minute sections, each of which is started by a piece by Dick Mills, one of the composers who worked at the BBC Radiophonic Workshop; each of the pieces featured here are inspired by astronomical phenomena. Section one is mostly about establishing the tone of the overall mix, focusing on a number of tracks that act via wave-like swells or soft pulses (Bass CommunionBreaking, Venetian Snares, Hecq, Alva Noto) – there’s something intrinsically restful about this kind of behaviour – alongside more mellifluous or amorphous music (Bernat Vivancos, Jonathan Coleclough, Brian Eno). Section two tilts the mix into darker territory, passing through hauntology (The Caretaker), ominous noir (Angelo Badalamenti & David Lynch), convoluted field recordings (Christopher McFall) and edgy dark ambience (Ektoise, Aphex Twin).

Section three is the most variegated and, in the best sense of the word, inscrutable, encompassing blank fields of reverberant electronics (Error Genético), slowly shifting, somewhat impenetrable clouds of pitch formations (Kenneth Kirschner, Benjamin Dauer), intense meditations, one long, one short (Mirjam Tally, Nicolas Obouhow) and acousmatic sound-theatre (Kreng). Section four initially takes the mix through its most broken-up textures yet, from both experimental electronic and doomjazz perspectives (Andrew Liles, The Thing With Five Eyes) before bringing it back to stability and calm, through a series of more peaceful ambient-esque pieces (Simon Cummings, Fovea Hex, Ochre). i’ve concluded with a second track by The Caretaker, one that i’ve listened to countless times just before settling down for sleep, bringing the mix to a decidedly poignant end.

The accompanying artwork uses a photograph of the night sky that i took in July 2015. As usual, the mixtape can be downloaded or streamed via MixCloud; here’s the tracklisting in full, including links to obtain each of the albums: Read more

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Mixtape #39 : Days

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The new 5:4 mixtape takes as its theme the days of the week, charting a slow progression from Monday to Sunday. That might not sound like a particularly promising theme, but i’ve been noticing in recent months just how many tracks in my music library contain either specific or more general references to days, which led to the idea for this mixtape. Perhaps unsurprisingly, due to it being (from an aural perspective) such an abstract concept, the music in this mixtape is more than usually eclectic, but once i again i’ve been able to navigate what i think is a convincing, interconnected sonic pathway through exceptionally diverse material. This exercise was revealing in the extent to which some days of the week have received a greater amount of musical attention, while others are much more neglected. This clearly has more than a little to do with our cultural experiences and exploits: plenty of music to choose from for the weekend – when we’re more likely to be away from work, enjoying ourselves – while Tuesday and Wednesday in particular provided relatively few options (though good ones).

Once again, the mixtape includes some of my favourite music, old and new, and i’ve divided it up into sections for each day, demarcated with interludes. A couple of composers appear several times: there are various excerpts from Nordvargr‘s 8-hour epic Sleep Therapy and some pieces from Gesualdo‘s Tenebrae music. i’ve drawn on my love of easy listening on a number of occasions too, featuring some delicious slices of fragrant cheese from Charlie Byrd, Orchestra and Chorus, the Polish Radio Orchestra and The Cavendish Ten. Songs of a multitude of stylistic persuasions litter the mix, encompassing electronica (Yazoo, Client, SPC ECO, Bat For Lashes, Kate Havnevik), ballad (Emiliana Torrini, Get Well Soon), dream pop (Emmy Rossum, Tori Amos, Mitski, Desire), manic pixie dream pop (CocoRosie), light rock (Chrysta Bell, Asobi Seksu), experimental chamber rock (Chrome Hoof) and lo-fi (Leah KardosRose Elinor Dougall). Devoid of words but packing diverse beats are tracks from Christ., The Flashbulb, Free*Land, Cemeteries and tomandandy. At the more abstract end of the continuum, i’ve included a range of more free-form electronics from the likes of Ulrich SchnaussColin Andrew SheffieldNovellerTetraSaddleback (Richard Skelton), Brian EnoaTelecineThe Noisettes and Stray Ghost. There’s also a burst of Thomas Newman‘s luscious score for Less Than Zero and a gorgeously potent movement from perhaps Per Nørgård‘s greatest symphony (No. 6) towards the end of the mix. i’ve featured a small selection from my now vast collection of renditions of Gloomy Sunday – one of my favourite songs, about which i really ought to write a book sometime. In case it isn’t obvious, Venetian Snares and Tsukimono are reworking Billie Holliday’s classic recording, in both cases coming up with something wonderful, whereas DJ Phoenix reinterprets the song within a torrent of squelch, grime and bass. And the whole thing kicks off with a tantalising six-minute introduction from Marco Blauuw & Yannis Kyriakides.

So, a highly eclectic week condensed into three hours of music; here’s the tracklisting in full, together with links to buy the music. As ever, the mix can be downloaded or streamed via MixCloud. Read more

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Mixtape #31 : Autumn

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For the latest 5:4 mixtape, i’ve opted to explore music associated in some way with this time of year. Autumn is arguably the most poignant of the seasons, the ostentatious eruption of its gorgeous colours militated against by the pointed melancholy of its inevitable transition into the wastelands of winter. My infinitely greater namesake, the poet E. E. Cummings, often indignantly pitted the season against his beloved, despite its beauty:

walk the autumn long;
the last flower in whose hair,
thy lips are cold with songs

for which is first to wither, to pass?
shallowness of sunlight
falls and,cruelly,
across the grass
Comes the

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