Implex Grace

Mixtape #35 : Moon

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Taking inspiration from the lunar events at the start of this week, the new 5:4 mixtape is devoted to music related to the moon. i’ve crammed it with a veritable shed-load of personal favourites, small and great, old and new. The mix encompasses a broad spectrum, from the kind of soft delicacy heard in pieces by Toshio Hosokawa, Tor Lundvall, Pram, Alva Noto & Ryuichi Sakamoto, Implex Grace, Sunken Foal, Andrew Liles, Aun and The Noisettes to more abrasive expression in works by First Human Ferro, Philippe Petit (& Friends), Paul Dolden, John Williams and Chelsea Wolfe. Wolfe’s is one of a number of moon-related songs featured in the mix, alongside the very lovely Cemeteries (with one of my favourite tracks of 2015), Betty Ween, Radiohead and—heard in a miniature epic of gorgeous proportions—Julia Holter. The timebound yet timeless Johnny Howard Orchestra adds a bit of froth, immediately followed by its more sour hauntological answer courtesy of The Caretaker; Ochre and some vintage Multiplex bring a bit of play to the proceedings, while Eric Serra adds a brief note of cinematic grandeur and Natasha Barrett dives into a strange but exquisitely light soundscape. A sumptuous bit of nocturnalism from Richard Strauss acts as a coda, leading into the night proper via Chris Watson. Serving as structural markers throughout are the four parts of Harry Partch‘s hilariously mental Ring Around the Moon. Lycanthropes might want to give this particular mix a miss.

A little under two hours of sound from the lunatic fringe; here’s the tracklisting in full. If you enjoy the mix, there are links below to buy the music. Read more

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Mixtape #15 : Late Night

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It’s been a while since the last mixtape, and i’ve decided to return to the theme of the the first two mixes, music particularly suitable for late night listening.

Steve Peters‘ work is always fascinating, and his field recording project Here-ings is a masterpiece. i wrote about it at length early last year, and its profound sense of hush, allowing the space and its environment to speak, is unparalleled, and a fitting way to start this sonic foray into the night. Lovesliescrushing have dominated my listening in 2010; their lavish 2CD box-set Girl. Echo. Suns. Veils. arrived a few weeks back, and earlier this week Crwth (Chorus Redux) arrived. As the title suggests, it’s a retake of Chorus, their superb classic from 2007, as laden with velvet gentleness as the original (the CD comes with a voucher to download the original free of charge, so you get the best of both worlds). Ambrose Field‘s Being Dufay was one of my best albums of 2009, and the whole release is arguably best heard at night, when everything else is still; this is especially true of “Sanctus”, which emerges from the solo voice into some breathtakingly beautiful textures. sc140 was a project in conjunction with The Wire magazine, where composers wrote short snippets of Super Collider code, no longer than the length of a tweet (140 characters). The result is a mixed success but Nathaniel Virgo‘s contributions are invariably engaging; the pink noise in this track, punctuated by deep booms takes on the transparency of a field recording, all rain and thunder. Read more

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Mixtape #9 : Best of 2008

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Today 5:4 is one year old, and to celebrate that—and continue the celebration of the best albums of last year, here’s a new mixtape, featuring tracks from each of those albums. Not surprisingly, it’s the most eclectic mix so far, and also the longest, just a few seconds shy of 3 hours. Start 2009 with the best of 2008—enjoy!

Here’s the tracklisting in full: Read more

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Best Albums of 2008

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

It’s been difficult deciding what i feel are the best albums of 2008. Partly, because i’ve listened to so many (of the 667 albums i’ve listened to this year, 141 of them were released in 2008), but also because i’m conscious of a number of albums that i haven’t yet listened to, and which could well appear in this list. Anyhow, all lists of this kind are provisional, so as things stand today, here are the 5:4 Best Albums of 2008: Read more

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Best EPs of 2008

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It’s been a fascinating year for music. And so, partly because i love making lists(!), here are the 5:4 Best EPs of 2008 (my top 40 albums will appear tomorrow):

10 | Belong – Colorloss Record
Creators of some of the most poignantly decayed music ever, Belong have excavated four more relics in this lovely EP. Whiffs of the source material hover just too far to be resolved, while chord progressions wistfully undulate somewhere far, far beneath. Quite how long they can continue in this direction is hard to say, but for now their originality in this kind of music is absolutely first-rate.

9 | Operator Please – Just A Song About Ping Pong
The best-known (but not the best) song by Operator Please, this EP (mentioned in my review a few months back) contains a superbly danced-up version of the title track: the Kissy Sell Out White Stallion Extended Remix. It, together with the original version, perfectly capture the wonderfully breathless quality of this band’s music.

8 | Operations – Cold Months
Beautifully packaged inside a piece of felt (photos of my copy can be seen here), sealed with a safety pin, Chris Anderson’s latest release is an introverted masterpiece. As suggested by the title, this comes across as ‘wintry’ music, conjuring up potent images of wistfulness and nostalgic yearning. The most outstanding example is the short central track, bearing the enigmatic title “( )”, where a fin de siecle gramophone record utters its last gasp of music, a rapturously beautiful fragment of clarinet and strings. It’s astoundingly lovely, and my favourite track from 2008.

7 | Ian D. Hawgood – Tents And Hills
The latest release from the interesting Luv Sound netlabel (free download available here), described by them as “a thick miasma of overtones and shifting colors”, which is a pretty fair assessment. Hawgood has a real gift for ambient, although for the most part the textures he creates are far too interesting to ignore—but that’s hardly a bad thing. All too brief, but very satisfying; opening track “October” is particularly good, its dreamy shimmering finally coalescing into rich octaves.

6 | irr. app. (ext.) – Enterruption Hermetic Archival Cassette Series 3
Just two tracks lasting barely a quarter of an hour, but this is Matt Waldron at his obtuse and recondite best. Not quite as glaringly surreal as his Aspiring to an Empty Gesture, also released this year, this is nonetheless a rich salmagundi, taking in a range of aural shapes that belies their brevity. A number of releases are supposedly forthcoming, so hopefully 2009 will be an exciting year for irr. app. (ext.). Read more

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Gently ruinous yet strangely static: Implex Grace – Through Luminescent Passages II

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Another netlabel churning out the good stuff is Distance Recordings; in fact, the stuff is so good it’s a shame they haven’t released anything in a physical format; perhaps, in time they will. Distance’s first release was Through Luminescent Passages I, discussed on here back in July, created by a relative newcomer on the ambient noise scene, Implex Grace, a.k.a. Michael Perry Goodman. In that post, i explored the contrast presented by that album and its successor, the astonishing The Black Tapes EP; at the time, i didn’t really hear Black Tapes as a progression from TLP I, but rather as two parallel releases stemming from the same, highly turbulent, creative source. With the release earlier this week of the second Through Luminescent Passages installment, things have become very much clearer.

The opening track, “Sunrise Over Paradise”, instantly reveals its source material (a song from the early ’80s, but i won’t spoil it for those who don’t know which), and i quickly found myself wishing that Goodman had covered his tracks a little better, as the rest of his music keeps the originals happily anonymous. The gradually increasing sense of disintegration seems at odds with the title, more akin to a sunset than sunrise; not the only occasion when i’ve found myself puzzled at the relationship between the music and its title. It’s followed by “Archive Of Truths”, more lengthy but not really exploring a more interesting idea; this opening pair comes across as a largely inconsequential couple of tracks, sketches rather than fully-realised ideas.

The first track to show real promise is the initially resonant and bell-like “The Prophecy -or- The Paradigm”. It soon yields to a vast, buzzing morass, at the heart of which repeats a sombre, descending phrase, tolling like deep, funereal gongs. While very simple, the effect is utterly hypnotic, creating an aural environment that pulls the listener into its midst and holds one there, encouched in an overwhelming outpouring of sound. It is a superb synthesis of the more ambient soundscapes from TLP I with the abrasive onslaught of Black Tapes, in the process clarifying both those earlier releases. Read more

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Mixtape #7 : Ambient

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To conclude the little series of posts about the “ambient tradition”, here’s a new mixtape devoted to this special genre. It’s the hardest mix i’ve made so far; the temptation was, perhaps, never to stop, to create a compilation that could play into infinity—which is, after all, the point towards which the best ambient music inexorably tends. Some of the composers i’ve written about are included, but not all; the music of neither Steve Roden nor John Hudak lends itself well to this kind of mix, best heard in their own, very particular, contexts. Therefore, some additional names surface here, about whom i’ve hitherto been silent, but no less excited. Read more

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The ambient tradition: Implex Grace – a searing demonstration of ambient noise

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i said before that there’s more to ambient than washes of sound, but of course this kind of texture is, for better or (more often) worse, very closely associated with it. Thankfully, having spent too many years trapped in the saccharine world of (God help us) “chillout” music, ambient’s potential for drift has grown up into something very much more mature and meaningful. In no small part, it has been affected by what some might regard as its nemesis: noise. It might be fairer to call the constructions found in noise walls of sound rather than washes, but these two extremes have been drawn together to forge something utterly new. i suspect, like most ostensible “opposites”, they’ve had more in common than was immediately apparent; both noise and ambient tend to place emphasis on broad gestures within long durational expanses; both tend to occupy dynamic extremes; and, of course, like any extreme, both have fallen prey to the moronic mumblings of the talentless who have purloined the style in the hope it might bestow upon them the illusion of something approximating ability. As a texture, noise is unavoidable, so for it to lend anything of value to ambient, it is going to need to be softened and tenderised, in order to retain some semblance of Brian Eno’s “ignorability” (the inability of the listener to “ignore” noise (in Eno’s sense of the word), perhaps explains why poor music in that genre is so incredibly irritating, whereas poor ambient is a mild irritation at best).

An interesting blend of these worlds can be heard in the music of Michael Perry Goodman, otherwise known as Implex Grace. He caught my attention a couple of months back when his self-styled “debut release”, Through Luminescent Passages I, became available as a free download. i say “self-styled”, because in truth there’s been a number of minor self-releases dating back to 2004 (they can all be streamed via the vibr website; link below); nonetheless, this album is his most ambitious release to date, worthy of being regarded as his “Opus 1”. Even before listening, the track titles are highly suggestive: “Gorgeous Pale Light”, “Starlight: A Distant Shimmering Particle”, “Beyond The Cosmic Gates”; nonetheless, many are the composers who have made astronomical connections to their work, only for it to fail entirely to live up to such a lofty association; vivid titles like these are best approached with caution. But it’s immediately clear that Implex Grace is no ordinary, run-of-the-mill composer. and it’s clear too that the radiance alluded to in those titles is not merely present, but omnipresent, permeating—no, saturating—the music with incandescence, often composed in roughly equal parts of ambience and noise. “Twilight: Diamond In The Sky” is an exercise in simplicity: a delicate fragment of material (the “diamond”?) is placed within a soft harmonic bath (the “sky”?), wherein it loops merrily away, glitching here and there; it’s as though we’re watching it slowly draw nearer to us, allowed a few precious moments of closeness, before it passes us back into the beyond. “Gorgeous Pale Light” is a tough title to live up to, but the music succeeds, presenting a sonic landscape that feels by turns autumnal and/or suffused with rain (a different kind of saturation). Even longer than the first track, it opens up the scope of the album, widening the horizons still further; it’s an epic pronouncement, almost a statement of intent. Read more

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