Gottfried Huppertz

The Isolation Mixtapes : G

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And the beat lockdown goes on, so here’s a new Isolation Mixtape, exploring some of the very best sounds from the years 2010–19, focusing on artists, composers and groups beginning with the letter G. As always, none of the tracks have been featured in any previous 5:4 mixtapes, and once again i’ve worked through them in chronological order. All of the previous mixtapes (Isolation and otherwise) can be found here.

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 #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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New releases: Gottfried Huppertz, Elliott Sharp, Anna Þorvaldsdóttir, Coppice

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i want to flag up a few more new releases that have recently been tickling my jukeboxical fancy. To begin with, music that’s not remotely contemporary, but which in its own way marks an important contribution to the development of a particular musical strand that began early in the 20th century. Gottfried Huppertz was the composer for two of Fritz Lang’s most impressive films; his 1927 score for Metropolis can be heard as a progenitor of the style and approach that is at the heart of composers like John Williams. But it’s his score for Lang’s massive 4½-hour two-part epic Die Nibelungen, composed three years earlier, that can be heard to contain the quintessence of the movie soundtrack in a startlingly nascent form. In contrast to Metropolis, where mechanistic machinations dominate its narrative, Die Nibelungen is a score rooted deeply in lyrical melodic action. Huppertz’s musical language is sumptuous, echoing the shifting harmonic sensibilities of Richard Strauss, but above all strikingly redolent of the impassioned melodies (and instrumentation) of Scriabin’s symphonies. His approach is essentially leitmotivic, establishing a variety of principal ideas that are continually repositioned and recast in different lights and flavours in response to the events on-screen.
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