electronic

The Barbican, London: Ryoji Ikeda – Music for Percussion / datamatics [ver. 2.0]

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Last Sunday, the Barbican in London was treated to an evening of music by Japanese composer Ryoji Ikeda. For much of Ikeda’s career, he’s created a unique kind of electronic music, blending the aloof coldness and potential impenetrability of the most raw sounds – sine tones and noise – with more warm and accessible extra-musical associations derived from aspects of the world around us: temperature, time, space, and above all, data. More about that later. Ikeda’s compositional interests go beyond electronics, though, demonstrated in the first half of the concert which was devoted to his recent Music for Percussion (released on CD earlier this year on Ikeda’s own Codex Edition label), performed by members of Swiss percussion collective Eklekto. This is not the first time Ikeda has ventured into writing for acoustic forces; his 2002 album op. features three works for strings (the first of which i directed the UK première of a few years ago) – works that, considered retrospectively, are at some remove from Ikeda’s usual tone and aesthetic.

The four works that comprise Music for Percussion are much more closely aligned to the rest of Ikeda’s output. The most obvious thing they clarify is his indebtedness to minimalism: the opening section of Body Music [For Duo], featuring isolated claps that slowly coalesce into a concrete rhythmic pattern, could hardly evoke more instantly Steve Reich’s seminal Clapping Music. Yet where Reich was presenting something nascent, germinal, arguably more a concept than a deeply engaging composition, Ikeda’s Music for Percussion is a logical extension and, more importantly, an analogue of his work in electronics. Those claps in Body Music are swiftly supplemented with an assortment of thigh slaps and foot slams to elicit the same kind of stripped-back timbral palette employed in his intricately rhythmic electronic work. However, whereas on disc the connection to Ikeda’s earlier music is emphasised yet further by the dry clarity of the performance, watching Alexandre Babel and Stéphane Garin negotiate their way through the formidable complexities of its constantly varying rhythmic patterns bestowed on the music a palpable frisson of instability – even fragility – that’s entirely absent from Ikeda’s electronic oeuvre. Performed without music, facing towards the audience rather than each other, Garin and Babel were simply mesmerising to watch. Read more

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Gráinne Mulvey/Christopher Fox – Aeolus/untouch; John Wiggins – The Listened To Sound; Lee Fraser – Cor Unvers

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A new EP out on the Metier label brings together two works that each exist in an interesting relationship to real sounds. Irish composer Gráinne Mulvey‘s Aeolus, as the title suggests, takes its inspiration from the eponymous king of the island of Aeolia, names better known to us today via the Aeolian harp and its associated mode. Her piece is an acousmatic exploration of material rooted quite obviously in field recordings, though subjected to considerable amounts of processing and sculpting. Throughout, there’s a strong sense that the work is, if not about, then deeply informed by the idea of sound as the result of wind and air friction. The piece begins with, and from time to time returns to, the ambiance of the open air, to the soft accompaniment of birdsong, and Mulvey’s subsequent treatment of sounds transforms them into sheets of shimmer, or as if being propelled through tubes or tunnels, or even heard only by their reverberation, making identification difficult. There’s a lovely intimate tactility in this, made more fascinating by the hands-off nature of these transformed sounds, seemingly all the product of no direct physical contact. At various points there are distinct aural similarities to The Hafler Trio (particularly Intoutof), but for the most part Mulvey avoids the clichés of acousmatic music, producing something far more abstract, yet in which its points of origin remain (just about) tangible.

The other work on the disc, Christopher Fox‘s untouch, is the first of a two-part work (untouch—touch) for solo percussion. While the second part involves the soloist striking Thai gongs, untouch reconfigures their actions to the triggering of sine tones. There’s something genuinely uncanny about this abstraction (surely enhanced by seeing it in performance) both in the nature of the tone’s timbre – which doesn’t bear any meaningful similarity to gongs yet knowing about the second part continually brings them to mind – as well as their unfolding over time, begging the question of whether their continuity and the patterns that briefly emerge are arbitrary or closely-controlled. An intriguing, unconventional pair of works. Read more

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Proms 2018: Chaines – Knockturning; Laurie Spiegel – Only Night Thoughts; Daphne Oram – Still Point (World Premières)

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For the most part, the Proms has always liked to pretend that electronics don’t really exist. The exception to this wilful ignorance are the occasions when electronics are made the focus of either a specific piece or an entire concert, as was the case with ‘Pioneers of Sound’, a late evening tribute to the legacy of the BBC Radiophonic Workshop that took place at the Royal Albert Hall on 23 July. The undisputed highlight of the evening was the world première of a recently-discovered large-scale work by Daphne Oram but, alongside music by Delia Derbyshire and Suzanne Ciani, it was preceded by two smaller new works. Read more

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Beyond Pythagoras; Phantom Images

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Perhaps the most consistently and fearlessly challenging of UK new music labels is Huddersfield Contemporary Records. As such, they’re not exactly a label needing to up their game, but with their latest couple of albums they’ve done just that, releasing some of the most unforgettable stuff i’ve heard this year. Before discussing Beyond Pythagoras and Phantom Images it’s worth mentioning that, in keeping with the exploratory compositional curiosity that prevails at Huddersfield University, the first impression these discs make is as research publications, the product of intense academic consideration and scrutiny. i only mention this because, first, very few labels seek to place up-front the scholarly, investigative aspects of the music; second, this is not (as a listener) anything to be afraid of; and third, that’s far from being the whole story. Personally, i like being able to engage with the academic side of this kind of music-making. It highlights the experimentalism that underpins most innovation, as well as the provisional nature of such experiments; this, in turn, punctures the bubble – continually re-inflated with perfumed, romantic helium – that composition is all about divine inspiration and magic. Composition, at its best, is about rolling up your sleeves and getting your hands dirty, about feeling the ‘earth’ of the musical stuff between your fingers and finding how it wants and you want it to be shaped; it’s about hunches and algorithms and wild guesses and systems and why-the-hell-nots and struggles and elation, with concomitant failures and triumphs. Maybe all i’m trying to say in this now way overlong opening paragraph is that Huddersfield Contemporary Records really gets this, and these two discs are a superbly authentic testament to the rigour and the glee that the best compositions encompass and embody. Read more

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Tom Mudd – Gutter Synthesis; Jeroen Diepenmaat – Ode

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Another recent release from the Entr’acte label that’s been intriguing me lately is Gutter Synthesis by British electronic experimentalist Tom Mudd. The six tracks on the album are divided between three Gutter Synthesis pieces and three Gutter Organ pieces, all of which were created using Mudd’s own software, created specifically for this project.

The Gutter Synthesis tracks are, in general, more austere and meandering. The first features an interesting interplay between a low drone and varying quantities of shifting surface jitter and squeal, highly metallic in character and punctuated by occasional sonic punches. The second, more engagingly, presents a seemingly self-contained computer process, as though the machine were turning over ideas, examining them and juxtaposing them, in the process forming a vague notion of pulse. Metallic timbres are the focus here too, made more challenging due to the piercing intensity they develop later on. In Gutter Synthesis 3 we hear an apparently arbitrary procession of sound objects, some low and gritty, others high and pure. In some respects this track is a paradigm of the album as a whole, inasmuch that it benefits considerably from repeated listenings, the process of which diminishes the pervading austerity and brings clarity (or, at least, familiarity, which can be the same thing) to the strange narrative in this and all the other tracks, such that they become increasingly compelling. Read more

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The Tolmen Centre, Constantine: Kevos – From this world to the next

Posted on by 5:4 in Concerts, Premières | 1 Comment

The extent to which contemporary music is well-represented in ‘the provinces’ of the UK, away from major cities, is extremely variable and in the case of Cornwall it’s not really pushing a point to describe it as being almost non-existent. Kevos (Cornish for ‘contemporary’), a six-piece ensemble formed in 2016 by Patrick Bailey (who directs the group) and dedicated to new music, is therefore not merely an honourable exception to the rule, but something altogether more rare and vital. Nominally based in Truro, in the middle of Cornwall, Kevos take a peripatetic approach to their concerts, performing as far afield as Newlyn to the west, Falmouth to the east and the lovely Kestle Barton arts centre to the south (not far, in fact, from the most southerly point of the British mainland). Kevos’ geographical scope is matched by the repertoire they take on, which in the last year has included music by Steve Reich, Alison Kay, Berio, Charlotte Bray, Richard Causton and Judith Weir. Kevos clearly set their sights ambitiously high, and deserve huge amounts of kudos and encouragement for what they’ve achieved thus far.

A few nights ago i was fortunate to catch the last concert of their current season, titled ‘From this world to the next’, this time taking place at the Tolmen Centre in the tiny village of Constantine. Kevos’ concerts occasionally feature electronic music alongside instrumental works, and they opened with Jonathan Harvey‘s Mortuos Plango, Vivos Voco. Whenever i’m about to be confronted by this piece – so familiar and, composed in 1980, increasingly un-contemporary – i instinctively wonder whether it has anything left to give. Personally speaking, i’ve heard it in practically every possible context, both in concerts and at home, in small halls and vast spaces, through speakers and headphones, in its original 8-channel version and condensed down to stereo. Yet when the piece plays and the bell and the boy sing out once again, i find that that familiarity is at once reinforced and completely undone. Somehow it continues to speak with incredible freshness and vitality; despite its 38 years of age, it could almost have been composed last week. Furthermore, despite not having the finest of sound systems, its rendition in the Tolmen Centre – heard in its full, 8-channel glory – was nonetheless compositionally crystal clear, demonstrating Harvey’s sense of inquisitive play in his treatment of harmonics and morphemes, as well as the work’s sublime balance of densities and registers. The polarised conclusion, high cluster-chords intoned over the low tolling bell, was so striking it suggested that not only does Mortuos Plango, Vivos Voco have plenty more to give, but that we never really know the piece in its entirety; just like all those complex overtones of the Winchester bell on which the work is based, there’s always so much more to be discovered within. Read more

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Gigs, gigs, gigs: Night Liminal; Who knows if the moon’s

Posted on by 5:4 in Announcements, Premières | 1 Comment

A couple of performances of my work are coming up soon. Most imminently is the #EarBox series of art and music performances organised by the University of Kent. Their next event features my 2012 ambient work Night Liminal in conjunction with a new exhibition titled Extending the Frame. It’s taking place at 1.10pm on Thursday 24 May at Studio 3 Gallery, in the University’s Jarman Building, and admission is free. Further details can be found on the University’s music department blog, and you can read all about Night Liminal here.

To mark the occasion i’ve created a 50% discount code for the digital download of Night Liminal, valid until the end of this month. Head over to the Bandcamp page and when adding to the cart enter the code earbox to get the discount.

And next month soprano Jessica Summers will be giving the world première of my song for solo voice Who knows if the moon’s. Despite lasting a mere two minutes, this little song – a setting of E. E. Cummings’ well-known poem – is a piece i once thought i’d never complete. It dates back to my undergraduate days; i broke off working on it in May 1995 following the abrupt death of my father, and could never bring myself to return to it. It then sat around for nearly two decades until i rediscovered the sketches and finally managed to complete it during my PhD at the Royal Birmingham Conservatoire. Partly because of how personal it’s become, i’ve not shown the piece to many people, but i’m delighted that Jessica will finally be performing it; it really is high time i let go of this music.

Accompanied by pianist Jelena Makarova, the concert is one of Jessica’s Living Songs recitals, and takes place at 1.15pm on 12 June at St Mary-at-Hill Church in London. The concert also includes music by Debussy and Stuart MacRae. More details can be found at the church’s website, and the Living Songs project can be followed on Twitter at @LivingSongs21.

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