Elsiane

The Isolation Mixtapes : E

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For the new Isolation Mixtape i’ve ramped up the intensity somewhat, so be prepared to pump up the volume to the max for this one. This week i’m focusing on artists, composers and groups beginning with the letter E, once again selecting two fantabulous tracks from each of the years 2010 to 2019, going through them in chronological order.

Here’s the tracklisting in full, together with approximate timings and links to obtain the music. As usual, the mixtape can be downloaded or streamed via MixCloud. Read more

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Mixtape #54 : Menagerie

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For the new 5:4 mixtape, i’ve turned to the world of animals, assembling music that references a diverse collection of wildlife. All manner of beasts are featured, insects, birds, reptiles and amphibians in addition to mammals, from the smallest (probably, in this selection, a wasp) to the greatest (definitely, in this selection, a whale), and i’ve not entirely limited myself to reality, including a couple of pieces that pertain to non-existent creatures. The musical choices are similarly aesthetically eclectic, and on this occasion i’ve not sought to make strong stylistic connections throughout the mix but instead emphasise uniqueness: for the most part, none of the 38 tracks closely resembles any of the others.

In all, two hours of sonic zoology providing a veritable musical menagerie, ending with a small tribute to one of music’s great musical minds and voices, who sadly is no longer with us. Here’s the tracklisting in full, together with links to obtain the music. As usual, the mixtape can be downloaded or streamed via MixCloud. Read more

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Mixtape #53 : Best Albums of 2018

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Happy New Year everyone!

Many thanks to all of you who have read, followed, commented, shared, promoted and otherwise supported the blog during the previous year, most especially to my beloved band of Patrons. i’m starting 2019 in the usual way, with a new mixtape featuring something from each of the brilliant albums in my Best of 2018 list. Being such an eclectic list, the ‘narrative’ of this mixtape is one that unavoidably veers between quite wildly dissimilar styles and aesthetics, but to my ear that only makes it all the more interesting and fun.

40 tracks (well, technically 41: Jóhann Jóhannsson’s were short so i included two) that testify to and celebrate the range and scale of musical wonders created during 2018 – the full tracklisting is shown below, and links to buy each album can be found in the previous two days’ articles. As always, the mixtape can be downloaded or streamed. Read more

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Best Albums of 2018 (Part 2)

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i said yesterday how 2018 had been a very good year – just how good is encapsulated in these, the best of the best of the year’s albums, each one of which will do sublimely wonderful things to your ears. Read more

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Mixtape #40 : Miniatures

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Even more than is usually the case, the new 5:4 Mixtape is a pure stream of consciousness. i’ve returned to a theme i explored in one of the earliest mixtapes, miniatures, once again setting myself a limit of music lasting under two minutes. With a shortlist of 100+ tracks (each one a personal favourite), i then simply followed my nose, treating them as puzzle pieces for a newly-created jigsaw, or perhaps more accurately as tessera for an eccentric aural mosaic. As usual, they embrace a mixture of new and old, and stylistically it’s all over the place, though its narrative was entirely suggested by the material, sometimes dovetailing or morphing, elsewhere successive tracks acting as rude non sequiturs. Along the way you’ll encounter abrasion (Alejandro Jodorowsky, Naked CityBenjamin Wallfisch (whose IT soundtrack is gleefully insane), aTelecine), playfulness (Syd Dale, Andrew Liles, Camille), moody atmospheres (Laura Sheeran, SupersilentVangelisOlga Neuwirth, Beacon, Gareth Davis & Machinefabriek, Alva Noto, Ben Lukas Boysen), edgy lyricism (Zola Jesus, Elsiane, Gazelle Twin, Clark, Jenny Hval), convoluted beats (Don DavisZavoloka & AGFThe Flashbulb, Derek K Jeppsen, Shad[]wb[]x, Ryoji Ikeda), drama of various hues (James Newton HowardPeter AblingerVeli-Matti PuumalaClaude Vivier), dreamy ambient (Bad Loop, The Real Tuesday WeldCliff MartinezGet Well SoonMonty AdkinsAphex Twin), rich tonal yum (Marcel Dupré, Carpenters, Cyrillus KreekTõnu Kõrvits) and various other electronic, experimental or otherwise unconventional amuse-bouches (Francis DhomontFrank ZappaNicolas ObouhowAndrew Lloyd Webber (yes, really), Sophie, Steve LevineJohn ZornKenneth Kirschner). And all of this in just one hour.

48 tiny tracks ranging in duration from 1’59” to a mere 26 seconds. Here’s the tracklisting in full, together with links to obtain the music. As ever, the mix can be downloaded or streamed via MixCloud. Read more

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A spine-tingling fusion: Alone Architect

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A release i’ve been anticipating for a while came out recently: the self-titled debut EP from Alone Architect. Much of the best electronica-fuelled songwriting in recent times has emanated from Canada, and Alone Architect is no exception, being the project of Montreal musician Jeff Feldman. Feldman posted a couple of teaser tracks online some weeks back, one of which featured the unique vocalisations of Elsieanne Caplette, chanteuse of the outstanding duo Elsiane. The song in question, “The Incision”, proved absolutely captivating, and promised big things for Feldman’s forthcoming EP; it does not disappoint.

The EP comprises six tracks whose brand of electronica is dark bordering on nocturnal. But it’s not yet another generic exercise in pseudo-post-apocalyptic knob-twiddling; on the contrary, rhythmic drive and overt lyricism pervade Feldman’s darkness, adorning it with splashes of colour and lightening its heavy undertones. Opening track ‘Moth to Flame’ exhibits both, although with a sense of distance. Feldman spends some time establishing layers of accompaniment (drawing heavily on the spectre of late ’70s Jean-Michel Jarre), and when his voice finally enters, the lyrics are bent out of shape almost to the point of obscurity. However, this is more than just a song—the absence of a chorus in its structure reinforces the point—and its climactic moments are carried by music alone, the words falling silent. It’s followed by the goth-inflected “Not Alone”, sung by Angela Boismenu whose voice seems to combine the best aspects of Cher and Amy Lee. Laid back in tempo, it nonetheless packs no little punch in the choruses, a punch that Feldman ramps up as the song progresses. Lyrically, despite the convolution of its poetry there’s real passion here, made all the more potent by a switch to triplet rhythms in the middle 8 and the abrupt fragility at the start of the coda. 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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Mixtape #4 : Miniatures

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This new mixtape began life as one of my playlists on iTunes, which simply specified that it should only include tracks under two minutes in duration. Surprisingly, 815 tracks from my music library fulfil this criteria, amounting to over 15 hours of music. Not surprisingly, this playlist makes for an eclectic and surreal listen, while at the same time providing a kind of ‘distillation’ of the music that i love. Here then, is a selection from that playlist, with a slight emphasis on music i’ve listened to more recently; almost 70 minutes of music stitched together with the aid of a variety of delightful advertisement spots by the wonderful and very innovative Raymond Scott. What this lot tells you about my music collection is anyone’s guess…

Here’s the complete tracklisting: Read more

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Mixtape #2 : Late Night (again)

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While it’s not my intention to create a series of mixtape each intended to be listened to late at night, this new mix again has that in mind. Perhaps i’m just drawn to nocturnal kinds of music; or perhaps it is i that is nocturnal and not the music. Either way, i think the following selection is particularly special during the darkest hours of night. Everything comes from my listening within the last few months, 60 minutes of music stitched together with the remarkable loops that are embedded within the equally remarkable Buddha Machine. Enjoy…

Here’s the full tracklisting: Read more

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Elsiane: strange, radiant pain

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For years, i’ve had a penchant for female singers with unconventional voices. This is, i suspect, as much to do with the fact that such singers usually surround their voice with equally unconventional sounds, as with the actual voices themselves. The list is considerable: Clodagh Simonds (Fovea Hex), Liz Fraser (Cocteau Twins/This Mortal Coil), Toni Halliday (Curve), Sierra and Bianca Casady (CocoRosie), Imogen Heap, Joanna Newsom, Anne Marie Almedal (AM and the UV), Claudia Brücken (Onetwo/Propaganda), Beth Gibbons (Portishead), Emiliana Torrini, Björk, Tori Amos, Ute Wassermann, and i’d even include t.A.T.u.’s Yulia Volkova, although she’s rather more mainstream. Perhaps the most significant aspect of these singers’ appeal, though, is in their ability – fuelled by their unconventionality – to bring a new kind of expressive power to songs, a power that is often extremely direct and moving.

A notable omission from the above list – and one of the most rapturous voices i’ve ever heard – is Elsieanne Caplette, one half of the Canadian duo, Elsiane (the name is an amalgam of her and drummer Stephane Sotto’s first names). Apart from anything else, they’re a curiously stylish entity, Caplette’s classical training fusing and fizzling with Sotto’s background in art history. Sonically, they are, literally, breathtaking; it becomes apparent listening to them how often singers don’t really sing, preferring either to murmur within a narrow cluster of notes or meander aimlessly in all directions. Elsiane, on the other hand, are the epitome of cantabile, their melodies singing out the journey that their poetic, intimate lyrics require, at times almost too low for Caplette’s voice, other times squealing high notes, but whether each comes from ecstasy or angst remains ambiguous. Read more

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