Greg Haines

Mixtape #25 : Best Albums of 2012

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

HAPPY NEW YEAR TO YOU ALL!

Today marks 5:4‘s fifth anniversary, and so i’d like to take this opportunity to thank all of you who regularly read, share and respond to the articles and music explored here. Since 2008, the blog has grown from being an occasional hobby (reading the earliest articles, that fact is rather painfully obvious) to something that now receives significantly more time and attention. i very much hope that 5:4 can grow and become even more interesting and useful in the next five years; all comments, criticisms, suggestions and other feedback is always very warmly encouraged.

But to return to the present, and to continue our annual tradition, here is a new mixtape featuring one track from each of the forty entries on my Best Albums of the Year list. The mix includes more extreme dynamic variety than in previous years, so while i’ve done a little to mitigate that, be warned that at times the music veers between extremely soft and very loud indeed. As ever, if you like what you hear in the mix, please support the artists and buy the music; links are included on the last two days’ posts.

i’ve remarked in the past on the provisional nature of all ‘Best of’ lists, and so to keep things current, i’ve updated the summaries of the Best Albums/EPs of the Years, to reflect further listening than had been possible at the time; the revised lists can be found under The Lists on the main menu.

The mixtape lasts a little under 3½ hours; here’s the tracklisting in full: Read more

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Best Albums of 2012 (Part 2)

Posted on by 5:4 in Best of the Year, CD/Digital releases | 3 Comments
* Please note this list has how been superseded by the one on the Best Albums of the Years page *

The lists reduce the vastness into controllable sizes, into the size of things that can fit into our mind, where they can expand again to the size of everything. The list is the way of fitting everything in one place at one time, so that we can take it with us, so that we can fit it all inside a microchip, a chip we can then fit inside our soul. … The list is a code for everything we are, the list is a diagram, sometimes extremely slight and incomplete, sometimes unbelievably deep and complete, of eternity.
(Paul Morley, Words and Music)

Here we go, then, with the absolute pinnacle of this year’s albums, every one of them essential listening. Read more

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Mixtape #19 : Best of 2010

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

HAPPY NEW YEAR!

It’s 1 January, which means it’s 5:4‘s birthday, and today we’re three years old. Having spent several days looking back on last year’s most outstanding releases, what better way could there be to start the new year than with a new mixtape, featuring one track from each of my forty best albums of 2010. As you’d expect, it’s another extremely eclectic mix, and this time lasts a little over three-and-a-half hours. If you like the mix (and how could you not?!), please support the artists and buy their excellent music.

Here’s the tracklisting in full (click the image for high-resolution artwork): Read more

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Best Albums of 2010 (Part 1)

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* Please note this list has how been superseded by the one on the Best Albums of the Years page *

Continuing the 5:4 retrospective, and after probably far too much deliberation, here are the first twenty of my forty Best Albums of 2010 (to be concluded tomorrow):

40 | Jenks Miller and Nicholas Szczepanik – American Gothic
Barely suppressed abrasion is the undercurrent throughout this fruitful collaboration. The context for it couldn’t be more gentle; “Sin Killers”, for example, suspends the rough edges as in a viscous liquid. But when the noise senses freedom, it’s like a bull at a gate; at first, in “White Light”, it emerges in fits and starts, but ultimately runs amok in final track “Cranberry Sauce”, turning its exquisitely beautiful stasis into an overwhelming torrent of effluvial overdrive.

39 | Supersilent – 10
Last year’s 9 proved conclusively that there was life for Supersilent after Jarle Vespestad’s departure, and its successor goes even farther. It’s Arve Henriksen’s astonishing trumpet-work that dominates this album, by turns evanescent (“10.1”), claustrophobic (“10.6”), and lyrical (“10.8” – one of this year’s most beautiful tracks), but at no point sounding remotely like a conventional trumpet. The evocative use of organ and electronics takes turns in both background and foreground; restraint is the watchword, though, only very occasionally protruding more forcefully, as in the bass thuds of the penultimate track. Read more

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