Katherine Young

Beyond Pythagoras, Phantom Images

Posted on by 5:4 in CD/Digital releases | 1 Comment

Perhaps the most consistently and fearlessly challenging of UK new music labels is Huddersfield Contemporary Records. As such, they’re not exactly a label needing to up their game, but with their latest couple of albums they’ve done just that, releasing some of the most unforgettable stuff i’ve heard this year. Before discussing Beyond Pythagoras and Phantom Images it’s worth mentioning that, in keeping with the exploratory compositional curiosity that prevails at Huddersfield University, the first impression these discs make is as research publications, the product of intense academic consideration and scrutiny. i only mention this because, first, very few labels seek to place up-front the scholarly, investigative aspects of the music; second, this is not (as a listener) anything to be afraid of; and third, that’s far from being the whole story. Personally, i like being able to engage with the academic side of this kind of music-making. It highlights the experimentalism that underpins most innovation, as well as the provisional nature of such experiments; this, in turn, punctures the bubble – continually re-inflated with perfumed, romantic helium – that composition is all about divine inspiration and magic. Composition, at its best, is about rolling up your sleeves and getting your hands dirty, about feeling the ‘earth’ of the musical stuff between your fingers and finding how it wants and you want it to be shaped; it’s about hunches and algorithms and wild guesses and systems and why-the-hell-nots and struggles and elation, with concomitant failures and triumphs. Maybe all i’m trying to say in this now way overlong opening paragraph is that Huddersfield Contemporary Records really gets this, and these two discs are a superbly authentic testament to the rigour and the glee that the best compositions encompass and embody. Read more

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HCMF 2017: TAPE, The Riot Ensemble, Ensemble PHACE + Laura Bowler

Posted on by 5:4 in Concerts, HCMF, Premières | Leave a comment

Having heard Thomas Lehn’s live rendition of Bogusław Schaeffer’s 1964 Symphony last thing on Thursday night, it couldn’t have been more perfect to have started Friday in the company of four more Polish electronic works, dating from around a decade later. Eugeniusz Rudnik‘s Ready Made (1977) took a collage approach to found sounds, and was primarily interesting in the naively effective way Rudnik used the juxtaposition of these sounds to articulate a sense of internal energy, most obviously in a transition from a floating drone into a burst of Berlioz’s Radetzky March. Krzysztof Knittel‘s 1976 The Worm Conqueror was strikingly different from the grey industriality of Norcet II, heard on Tuesday. His soundworld was like being in vast oceanic depths, where quiet, delicate, tiny sounds floating in silence became the brief bursts of flamboyant colour from bioluminescent fish. This wasn’t only where we began, it also established a broader context of quietude where subsequent outbursts – some of which were enormous (the only time echoes of Norcet II could be heard): muscular, brutalist torrents of stuff sizzling in the space like hot soup being poured into ice water – sounded like aberrations from a path that eventually led back down into the depths. Here, at the last, something allusive could be glimpsed, as if just beyond our reach, before vanishing. Wow. In Daisy Story (1979) by Bohdan Mazurek, the most light-hearted piece in the concert, varying forms of momentum are explored, formed from squelchy analogue mush converted into a rude rhythmic bassline. However, as overtures go it was something of a red herring, followed by free-wheeling quasi-psychedelic ideas and gestures and melodic fragments (made of sine tones) that brought to mind the early work of Kraftwerk that zeitkrazer had revisited during the festival’s opening weekend. Further rhythmic underpinnings emerged, but it was those unfettered improvisational shapes that ultimately dominated and typified the piece. When discussing Bogusław Schaeffer’s Symphony yesterday i spoke of the ‘threatening silence’ endemic to so much early electronic music, which retrospectively acts as an analogue to composers’ grappling to harness new technology. An interesting counterpoint to this could be heard in Tomasz Sikorski‘s Solitude of Sounds (1975), where (again retrospectively; it would hardly have been the composer’s intention) the tape hiss worked both as a ‘shield’ against this silence as well as the means by which the material was animated, like a soft source of ambient electricity. There was something reassuring about its presence, and the way it was shaped around and behind everything else. Speaking of which: slow-moving objects caught between pitch (just) and noise (barely) like dark grey rectangles in a sea of ash. Somehow it ended up as a polarised high/low drone, each pole slowly changing in ways that were impossible to identify. One could almost imagine it as the music of the spheres, underpinning the entirety of the universe. Read more

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