Monty Adkins

HCMF 2014: Monty Adkins + Britt Pernille Frøholm, Arne Deforce + Mika Vainio, Gareth Davis

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

Last night’s and this morning’s concerts all featured soloists performing and interacting with electronics and/or visual elements within large-scale compositional forms. Monty Adkins‘ new 40-minute work Spiral Paths to some extent brings together the twin lines of enquiry that led to Four Shibusa (electronics with live performers) and Rift Patterns (electronics with video projection). Spiral Paths comprises five distinct movements, with a prominent solo part for hardanger fiddle—performed by Britt Pernille Frøholm, who also commissioned the work—and projected visuals created by Jason Payne. Anyone familiar with Adkins’ work over the last few years may reasonably know what to expect, but Spiral Paths goes deeper, or at least, pulls out a lot more stops. Read more

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HCMF 2014: Quatuor Bozzini, Electric Spring @ 20

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This evening’s (rather poorly attended) concert given by the Bozzini Quartet featured a trio of works by composers from their native Canada. Of the three, Martin Arnold‘s Vault was the most straightforward, the quartet for the most part enunciating a single melodic line as a single musical body, united by material, rhythm, dynamic and mode of articulation. It would be pushing it to call it interesting exactly, although for a time there was something quite enchanting about hearing the undulations of the line handled so very quietly. However, the decision by so many bronchitic members of the audience to cough their guts up during the piece severely undermined its hold. Marc Sabat‘s Euler Lattice Spirals Scenery, receiving its UK première, explored “tuning differences between the untempered natural harmonics of the [quartet’s] 16 open strings”; using just intonation, this seemed to herald 25 minutes of microtonality, but Sabat’s emphasis is on just tuned triads, meaning that much of the piece sounded perfectly ordinary; the first movement underwent a gradual ascent to a high altitude where the unusual tunings, heard in gleaming harmonics, finally became obvious; the second movement initially answered this with a descent but its ultimate trajectory and purpose were very much harder to ascertain. Most striking of all was Nicole Lizée‘s Hitchcock Études, another UK première, where cut up sound fragments from a number of Hitchcock’s films—Psycho, The Man Who Knew Too Much and The Birds—form the basis for the quartet’s material. In some ways the music resembled parts of Steve Reich’s Different Trains, although Lizée was concerned more with musical phrases coming from repetitions of non-verbal sounds. Read more

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CD roundup (gli altri)

Posted on by 5:4 in CD reviews, Digital reviews | 5 Comments

Having recently examined the more interesting soloistic & orchestral new releases, it’s time to give an overview of the best of the rest, music that doesn’t fit quite so easily into nice categories. First, released today on the Innova label, is Sunken Cathedral, the new album from Korean-American composer & singer Bora Yoon. Described as “a sonic journey through the chambers of subconscious”, the collection of songs that comprise Sunken Cathedral are a testament to Yoon’s fascination with sound design, married to a vocal approach that evokes a kind of ecstatic mysticism (or should that be mystical ecstasy?). It’s a quality writ large at the outset, refitting Hildegard of Bingen into a soft ambient driftscape, but throughout the album it reveals itself in increasingly subtle & unexpected ways. Yoon’s ear is clearly very fine-tuned; a dreamy setting of the Latin In Paradisum text is encased in the sounds of a scrawling pen, dogs barking, gentle bow tappings on a viola, jangling chimes, the rustling of Bible pages, a pair of Buddha machines & — my favourite — “subwoofing spoons”. It’s heady, even intoxicating stuff, with absolutely no sense of novelty to any of it; each sound, literally, rings true.

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Mix Tape #25 : Best Albums of 2012

Posted on by 5:4 in Best of the Year, Mix Tapes | 7 Comments

HAPPY NEW YEAR TO YOU ALL!

Today marks 5:4‘s fifth anniversary, & so i’d like to take this opportunity to thank all of you who regularly read, share & respond to the articles & music explored here. Since 2008, the blog has grown from being an occasional hobby (reading the earliest articles, that fact is rather painfully obvious) to something that now receives significantly more time & attention. i very much hope that 5:4 can grow & become even more interesting & useful in the next five years; all comments, criticisms, suggestions & other feedback is always very warmly encouraged.

But to return to the present, & to continue our annual tradition, here is a new mix tape featuring one track from each of the forty entries on my Best Albums of the Year list. The mix includes more extreme dynamic variety than in previous years, so while i’ve done a little to mitigate that, be warned that at times the music veers between extremely soft & very loud indeed. As ever, if you like what you hear in the mix, please support the artists & buy the music; links are included on the last two days’ posts.

i’ve remarked in the past on the provisional nature of all ‘Best of’ lists, & so to keep things current, i’ve updated the summaries of the Best Albums/EPs of the Years, to reflect further listening than had been possible at the time; the revised lists can be found under The Lists on the main menu.

The mix tape lasts a little under 3½ hours; here’s the tracklisting in full: Read more

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Best Albums of 2012 (Part 2)

Posted on by 5:4 in Best of the Year, CD reviews | 1 Comment

The lists reduce the vastness into controllable sizes, into the size of things that can fit into our mind, where they can expand again to the size of everything. The list is the way of fitting everything in one place at one time, so that we can take it with us, so that we can fit it all inside a microchip, a chip we can then fit inside our soul. … The list is a code for everything we are, the list is a diagram, sometimes extremely slight and incomplete, sometimes unbelievably deep and complete, of eternity.
(Paul Morley, Words and Music)

Here we go, then, with the absolute pinnacle of this year’s albums, every one of them essential listening. Read more

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Magical, jewel-like: Monty Adkins – Four Shibusa

Posted on by 5:4 in CD reviews | 1 Comment

In my 2011 Best Albums of the Year list, in third place was an album that remains one of the best examples of ambient music i’ve had the pleasure to hear: Monty AdkinsFragile.Flicker.Fragment. Describing it as ‘ambient’ is, in some ways, to do it a disservice, as—unlike most deliberately ambient music—it’s a lot more than just that. i described it then as “ambient by accident”, & the same could be said for Adkins’ latest album, Four Shibusa, released on the excellent label Audiobulb Records earlier this year.

The term ‘shibusa‘ is Japanese, & connotes the qualities of a distinct aesthetic outlook emphasising characteristics that Adkins summarises as “simplicity, implicitness, modesty, tranquillity, naturalness, normalcy & imperfection”. The four works presented here were part of a project in collaboration with artist Pip Dickens, in which she & Adkins created an exhibition of work, Shibusa—Extracting Beauty, reflecting upon & exploring aspects of the other’s art form. In the exhibition’s accompanying book, Adkins outlines “four fundamental models” that formed the basis of their work:

the smudging & blushing of colours & motifs into one another […];
the layering of different patterns on top of one another & allowing certain aspects of one or another layer to come to the fore at determined points;
repetitive patterns that are imperfect & are interrupted […]; the repetition here is not always exact, reflecting the human hand rather than the use of the machine […];
interlocking linear motifs that are clear in their group trajectory but remain independent lines.

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