Juhani Silvola

The Isolation Mixtapes : J

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This week’s Isolation Mixtape explores music by artists, composers and groups starting with the letter J. Once again there are two of the most interesting tracks from each of the years 2010 to 2019, featured 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 #57 : Best Albums of 2019

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Happy New Year!

i want to start this year by expressing my heartfelt thanks to all of you who have followed and supported 5:4 in the last year, particularly my delectable band of Patrons. Hot on the heels of my Best Albums of 2019 list, i’m beginning 2020 with the usual mixtape comprising selections from each of those 40 albums. It rather nicely encapsulates another year of breathtaking musical imagination and ingenuity, exploring a typically eclectic range of styles, attitudes and aesthetics.

Here’s the tracklisting in full, together with the start time for each track in the mix; links to obtain the music can be found in the previous two days’ articles. As usual, the mixtape can be downloaded or streamed. Read more

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Best Albums of 2019 (Part 2)

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Here they are, then, the best of the best albums that have brought untold levels of wonderment into my ears and mind throughout this year. i cannot recommend them highly enough – this is music at its most literally essential.

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Nordic Music Days 2019 (Part 1)

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Founded in 1888, the annual Nordic Music Days is one of the oldest contemporary music festivals in the world. It’s a peripatetic festival, moving from place to place each year, and for 2019 – surprisingly, for the first time – it moved north of the Arctic Circle, to the small town of Bodø (‘boo-duh’) in the north of Norway. As its name suggests, the festival is an opportunity for composers and performers from throughout the Nordic region to meet, collaborate and showcase to the wider world the range and diversity of their music-making.

The country that unfortunately came off worst this year – with disappointing consistency – was Denmark. Niels Lyhne Løkkegaard took no fewer than 50 triangles for his Triangular Mass – and then gave them little more than a continual, barely-changing tremolando for ten minutes. That was boring enough, but the fact that the work was conceived to be performable by any group of people, irrespective of musical training, only made such basic material seem not merely deficient but patronising; non-musicians are capable of a great deal more than just that. Loïc Destremau‘s string quartet Spoken Music had more going for it, but it was one of a number of pieces at NMD 2019 that became so interested in either technical or extra-musical elements that their actual musical interest was greatly reduced. In this case, while Destremau’s exploration of how speech can modulate conventionally-performed materials by the quartet was an interesting idea, the actual resulting music was extremely dull. Read more

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Juhani Silvola – Post-biological wildlife

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We might call it “conjectural anthropology”. What i’m referring to here is music (or any art, for that matter) that seeks to fabricate and/or otherwise be inspired by fictitious notions of organic life and activity. We find examples of this in, among other places, the strange electronic languages being uttered in the two volumes of Rashad Becker’s Traditional Music of Notional Species, in the wildly theatrical simulated-ethnographic rituals and dances of Paul Dolden’s Histoires d’histoire, and in the dual attempt to question and (re)invent an ancient magic in Gabriel Dharmoo’s Futile Spells. While none of these works seeks to effect real plausibility – focusing instead on the inherent joy arising from playing fast and loose with conceits of pseudo-reality – it’s surprising how effective and authentic they can feel, and as a consequence, how much we want them to be real. Similar feelings arise when listening to Post-biological wildlife, the latest album from Norwegian composer Juhani Silvola.

Rather than conceptualising a long-distant past, Silvola’s outlook is staunchly forward, looking ahead to a futuristic vision that may or may not involve people. Or, at least, ‘people’ as we currently understand the term: the “post-biology” at play here is evidently a convoluted amalgam of human, animal and machine elements. Opening track ‘Ritualrytmikk’ (itself a lexicological amalgam) brings together an assortment of percussive taps and beats amidst electronic blips and bleeps such that the distinction between them, though always evident, seems irrelevant. Occasionally surrounded by deep gongs and high chimes, the ritual aspect of the music is articulated with ice-cold simplicity and clarity, forming a nice counterpoint to the capricious irregularity of its rhythmic patterns. More relaxed but connected in parallel, ’20th Century Meditation’ turns metric regularity into a steady state textural foundation over which gentle plinky-plonky melodic fragments meander. As such, it evokes the progenitors of ambient music (hinted at in both parts of its title, “20th Century” and “Meditation”) while sounding unequivocally new. The title track is equally committed to just a single idea, setting up a habitat within which ersatz bird- and insect-sounds proliferate, joined later by gusts generated by an artificial storm. Read more

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