Cosey Fanni Tutti

Mix Tape #24 : Noir

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It’s time for a new Mix Tape, and once again it reflects my current predilections and listening habits. Film noir, and particularly its musical analogues, are much on my mind at present, so the new Mix Tape reflects that, drawing on 23 examples of muted monochrome. The similarities between these pieces are often very strong, yet the range of language used is considerable. The Kilimanjaro Darkjazz Ensemble, Tor Lundvall, David Lynch and This Will Destroy You opt for heavy-laden music pulled by a sluggish pulse, throwbacks to the past from the cusp of an apocalyptic future. Tangentially related, Ulver, Demdike Stare and Asher find regularity in the artefacts that litter the surface of their hauntological materials. Gareth Davis and Frances-Marie Uitti, Aphex Twin, Paul D. Miller (DJ Spooky) and Cosey Fanni Tutti and Philippe Petit all offer a kind of fin de siècle melodic scrutiny, while First Human Ferro, Access to Arasaka, Angelo Badalamenti and Sleepy Town Manufacture and Unit 21 grimly obsess over chord progressions, some fragile, some aching with nostalgia.
Naked City go further by doing less, unable to move much beyond a bleak repeating chord, while Andrew Liles (remixed here by Jonathan Coleclough) is similarly inert, viscous music drifting slowly in a void. Johan Söderqvist, Deaf Center, Ben Lukas Boysen (Hecq) and The Stranger (Leyland Kirby) tease out the tacet malevolence ubiquitous within noir’s unique atmosphere. Jonathan Coleclough retreats into a despair of off-silent impenetrabilia, but the most substantial example of that comes at the centre of the mix. The apparent ‘absences’ in Rebecca Saunders‘ music are as significant and disorienting—if not more than—the sounds themselves, pulling the listener into a sightless struggle against, seemingly, reality itself.

Two hours of silhouettes and shadows; here’s the tracklisting in full: Read more

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Best EPs of 2010

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And so it finally begins, the lengthy annual retrospective of all that was best in 2010. As usual, let’s start with my run-down of the 10 Best EPs of the year:

10 | dB Soundworks – Steambirds (iOS) Soundtrack
Something of an oddity in this list, perhaps, but Danny Baranowsky’s synthetic score for the splendid iPhone game Steambirds is incredibly effective. He’s managed to capture perfectly the atmosphere and mannerisms suitable for the game’s airborne antics, bringing to mind the soundtracks of any number of British WWII films. The four-minute “Main Theme”, in particular, is full of variety, never composing by numbers, while the additional “Boss Track” takes the invention even further, supplemented by two splendid miniatures, corresponding to success or failure in the game. It’s available free (or not, if you’re feeling generous) via the dB Soundworks Bandcamp page. While you’re there, check out Baranowsky’s music for Canabalt, also stirring stuff.

9 | David Lynch – Good Day Today/I Know
Okay, hands up anyone who predicted David Lynch would bring out a single this year? Keep your hand up if you also knew it would be a delicate electronic dance number. No-one? Defying expectations with his typical enthusiasm and flair, Lynch’s twin A-side took everyone by surprise, maybe even Lynch himself. Über-processed vocals, autotuned to the nth degree, laid over a brisk, unimposing disco beat, it could all have been horribly cheesy. But Lynch somehow pulls off experiments like this, not only sounding like no-one else, but actually making it kind of cool. The more laid-back “I Know” is even better, more obviously Lynchian, ominous and rather unnerving. Read more

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