A very HAPPY NEW YEAR to you all!
In keeping with 5:4 tradition, here’s the new year Mix Tape showcasing music from each of my Best Albums of 2015. Three hours that demonstrate something of the sonic wonders that materialised last year. Enjoy! — and there are links to buy each of the albums featured in the last two days’ articles.
As usual, the mix tape can either be downloaded or streamed via MixCloud. Here’s the tracklisting in full: Read more
Tags: Alex Rodgers, Alva Noto, Andrew Liles, Anna Þorvaldsdóttir, Autechre, Ben Salisbury, Benge, Björk, Brian Gascoigne, C Duncan, Cemeteries, Coppice, Disasterpeace, East India Youth, Eivør, Geoff Barrow, Gilles Gobeil, IAMX, Ingar Zach, Jacek Sienkiewicz, James Newton Howard, Jennifer Walshe, John Wall, John Williams, Julia Holter, Kate Havnevik, Kenneth Kirschner, Kreng, Lana Del Rey, Line Katcho, Man Without Country, Mark Andre, Miguel Angel Tolosa, Monty Adkins, Purity Ring, Somatic Responses, Steven Wilson, Sunken Foal, Susanne Sundfør, Syl Kougaï, Vanbot, Veli-Matti Puumala, Volker Hennes
The first of several epics on the list, Andrew Liles’ consistently unpredictable output was dominated in 2015 by this dazzling three-hour celebration of diverse electronic works dating back a quarter of a century. As the name implies, Miscellany is a veritable hotchpotch, one with a distinct leaning toward the more raw end of electronics. But this is merely the basis for a kaleidoscope of works encompassing radiophonic mayhem, intense beat-driven numbers overlaid with John Carpenter-esque basslines and/or Wendy Carlos-esque baroque twiddling, expansive ambient vistas and delicate, multi-layered bits of melodic tracery. It all makes for an entirely bewildering yet mesmerising experience. [
The latest in Ben Edwards’ ongoing ‘Forms’ series (begun in 2013) is this fine album, created using just a single synthesiser, the Yamaha VL1-m. The sense of evocation here, mingled with elements of nostalgia and retro sensibilities, is strong, conjuring up a soundworld that’s abstract and elemental yet drenched with connotations and allusions. And on top of all that it’s really very beautiful. [
Punchy, imaginative pop that builds directly upon the foundations set out on her 2011 album YOU. Smooth electronica is still the music’s most prevalent quality, but Havnevik keeps it informed with gruff basslines and itchy rhythmic diversions. Her voice is as gorgeous and indeed gymnastic as ever, turning endless cartwheels and somersaults which both reinforce the emotive core and embody the anthemic frivolity of her exquisite songs. [
The product of a runaway success crowdfunding venture, Metanoia finds Chris Corner extending further the utterly unique IAMX sound. His songs have always inhabited the widest of extremes in order to capture faithfully life’s emotional highs and lows, embracing grit and grime as well as the most ecstatic heights of elation (that voice!), and this album is no exception. Song titles like ‘No Maker Made Me’, ‘Say Hello Melancholia’ and ‘Oh Cruel Darkness Embrace Me’ are simultaneously brave—potentially suggesting a rather off-putting emo sensibility at work—and profoundly honest; yet the beat goes on, and while there’s more than an element of danse macabre permeating these songs, the restlessness of their rhythms keeps them from becoming self-indulgent. [
“Xerrox Vol. 3 inhabits a very personal environment, founded upon broad washes of soft ambience, overlaid with bursts of electronic babble and semi-arbitrary burblings that more-or-less coalesce into melodic shapes. The slow, sedate manner of the first two Xerrox albums often suggested the solemnity of a ceremony, but Nicolai keeps things lighter on this occasion: materials are thinly-layered and clearly demarcated, and the general tone is one of buoyancy and lift, each track practically floating on its own thermal currents […] Avoiding the tendencies so many ambient composers make when attempting to tap into the idea of outer space, Xerrox Vol. 3 instead offers something that manages to evoke immensity and things unknowable from the perspective of a lone, small individual, at once infinite and intimate.” (
William Doyle’s second album is a little hard to pin down. “The end result is not what was in mind” he sings, and it’s tempting to hear that as a descriptor for Culture of Volume itself. At its heart is a light-footed pop sensibility—Doyle is an irresistible melody-maker—yet this sits within a context of convoluted structures that often feel like miniature operas, their drawn-out dramas telescoped into four-to-six minute time spans. Whether expressed over an unstoppable pulse or through long-form lyrical lines (as in album highlight ‘Carousel’), they make Culture of Volume one of the year’s most beguilingly off-kilter pop albums. [
