Cliff Martinez

Mix Tape #37 : Best Albums of 2016

Posted on by 5:4 in Best of the Year, Mix Tapes | 3 Comments

HAPPY NEW YEAR!

i’m starting 2017 in the usual way, with a mix tape bringing together one track from each of the forty albums on my best of 2016 list. i’m sure posterity will come to regard last year as something of a trough in human history, but this mix tape does at least testify to the fact that it also contained some truly marvellous wonders. i hope you find these three hours of music a nice distillation of the aural magic that was made in 2016; links to buy each of the albums can be found in the last two days’ articles.

The mix tape can be downloaded or streamed via MixCloud; here’s the tracklistening in full: Read more

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Best Albums of 2016 (Part 2)

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Here they are, then: the best of the best of 2016, each and every one of them packed full of the rarest imagination, invention and ingenuity. i can’t recommend them highly enough.
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Mix Tape #29 : Best Albums of 2013

Posted on by 5:4 in Best of the Year, Mix Tapes | 2 Comments

A very HAPPY NEW YEAR to you all!

i want to say a big thank you to everyone who’s followed 5:4 in the last year, and especially to those of you who’ve posted comments and tweets in response. There are lots of exciting things planned for 2014, so watch this space.

In the meantime, continuing the 5:4 annual tradition, here’s the new mix tape, celebrating the music in my Best Albums of the Year list. A little something from each album, seamlessly stitched together and lasting a little under 3 hours. Enjoy!—and if you do enjoy what you hear, links to purchase the music can be found on the previous two days’ articles.

Here’s the tracklisting in full:

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Best Albums of 2013 (Part 1)

Posted on by 5:4 in Best of the Year | 2 Comments
* Please note this list has how been superseded by the one on the Best Albums of the Years page *

Continuing my round-up of the best music of the year, here’s the first part of the most outstanding albums of 2013; part two will be coming tomorrow. Read more

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Swagger, languor and a force field: the soundtracks of Maniac, Only God Forgives and Upstream Color

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It’s some time since i’ve explored movie soundtracks on 5:4, but there have been three this year that have stood out from the crowd, all very far indeed from the conventions of cinematic swooshery. That in itself isn’t terribly surprising, as their respective films are, to differing degrees, at some remove from the generic Hollywood archetype. The first is from Franck Khalfoun’s striking remake of Maniac, the music being by French composer Rob (about whom i’ve been able to learn precisely nothing, although there’s an interview here). The film, featuring an astonishing performance from Elijah Wood as the titular antagonist (Wood is clearly at his best playing sick, depraved characters), is dark, claustrophobic, deeply unsettling and at times horribly unpleasant. Almost all of the action takes place at night—in downtown streets, car parks, subway stations, diners and bedrooms—resulting in a heavy emphasis on artificial light, both the garish glare of neon and the subdued ambiance of intimacy. Rob has responded to this with a wonderfully-judged electronic score, one that draws on the crude swagger of 70s and 80s synths, establishing a strong connection to cinema from that period, particularly the self-scored movies of John Carpenter. It’s not pastiche, though; Rob’s sources may be vintage, but his attention is in the present. Opening track ‘Doll’ serves to establish credentials and context; driven by an initially unclear pulse, its restraint and neutrality evokes the sense not just of a late night drive, but of a search, a hunt. Read more

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