Marco Blaauw

Mixtape #39 : Days

Posted on by 5:4 in Mixtapes | 15 Comments

The new 5:4 mixtape takes as its theme the days of the week, charting a slow progression from Monday to Sunday. That might not sound like a particularly promising theme, but i’ve been noticing in recent months just how many tracks in my music library contain either specific or more general references to days, which led to the idea for this mixtape. Perhaps unsurprisingly, due to it being (from an aural perspective) such an abstract concept, the music in this mixtape is more than usually eclectic, but once i again i’ve been able to navigate what i think is a convincing, interconnected sonic pathway through exceptionally diverse material. This exercise was revealing in the extent to which some days of the week have received a greater amount of musical attention, while others are much more neglected. This clearly has more than a little to do with our cultural experiences and exploits: plenty of music to choose from for the weekend – when we’re more likely to be away from work, enjoying ourselves – while Tuesday and Wednesday in particular provided relatively few options (though good ones).

Once again, the mixtape includes some of my favourite music, old and new, and i’ve divided it up into sections for each day, demarcated with interludes. A couple of composers appear several times: there are various excerpts from Nordvargr‘s 8-hour epic Sleep Therapy and some pieces from Gesualdo‘s Tenebrae music. i’ve drawn on my love of easy listening on a number of occasions too, featuring some delicious slices of fragrant cheese from Charlie Byrd, Orchestra and Chorus, the Polish Radio Orchestra and The Cavendish Ten. Songs of a multitude of stylistic persuasions litter the mix, encompassing electronica (Yazoo, Client, SPC ECO, Bat For Lashes, Kate Havnevik), ballad (Emiliana Torrini, Get Well Soon), dream pop (Emmy Rossum, Tori Amos, Mitski, Desire), manic pixie dream pop (CocoRosie), light rock (Chrysta Bell, Asobi Seksu), experimental chamber rock (Chrome Hoof) and lo-fi (Leah KardosRose Elinor Dougall). Devoid of words but packing diverse beats are tracks from Christ., The Flashbulb, Free*Land, Cemeteries and tomandandy. At the more abstract end of the continuum, i’ve included a range of more free-form electronics from the likes of Ulrich SchnaussColin Andrew SheffieldNovellerTetraSaddleback (Richard Skelton), Brian EnoaTelecineThe Noisettes and Stray Ghost. There’s also a burst of Thomas Newman‘s luscious score for Less Than Zero and a gorgeously potent movement from perhaps Per Nørgård‘s greatest symphony (No. 6) towards the end of the mix. i’ve featured a small selection from my now vast collection of renditions of Gloomy Sunday – one of my favourite songs, about which i really ought to write a book sometime. In case it isn’t obvious, Venetian Snares and Tsukimono are reworking Billie Holliday’s classic recording, in both cases coming up with something wonderful, whereas DJ Phoenix reinterprets the song within a torrent of squelch, grime and bass. And the whole thing kicks off with a tantalising six-minute introduction from Marco Blauuw & Yannis Kyriakides.

So, a highly eclectic week condensed into three hours of music; here’s the tracklisting in full, together with links to buy the music. As ever, the mix can be downloaded or streamed via MixCloud. Read more

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CD roundup (concertante)

Posted on by 5:4 in CD/Digital releases | 3 Comments

Judging by the majority of CDs that have been sent to me recently, contemporary music is seeing a surge in recordings of works highlighting solo instruments. The collection i have received occupies different regions of the avant garde, from the most familiar and accessible to its forbidding outer fringes. Somewhere in between, yet the most impenetrable of them all, is James Erber‘s ‘Traces’ cycle for solo flute, released by Convivium Records. Erber has long struck me as a kind of non-mainstream Alexander Goehr, in that his music is always rigorously argued, its logic unassailable (a point Erber has always hammered home via his voluble essays and programme notes), yet never really opening itself up to allow the listener in. In short, its intellectual prowess crowds out its emotional potential, and in this respect the ‘Traces’ cycle is no different. There’s greatest interest to be found in the first of the three movements, where a low, increasingly rhythmic element makes incursions into the music’s ongoing melodic thrust (involving some nice fluttertongue writing and, after its fraught high point, some enigmatic ruminative finger tapping). But the second and third movements ramp up the intensity such that it becomes relentless, demonstrating an unstoppable, determined conviction that ends up nullifying both the effect and the interest. A curious extended stasis towards the end, involving soft high notes, is a welcome break, but the piece is no less inscrutable for it. In many ways, the trio of smaller works on the disc make a much stronger impact, but strongest of all is flautist Matteo Cesari‘s playing; it may be hard to decode Erber’s code, but Cesari does at least ensure its intricacies are presented with utmost clarity. Read more

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