Monty Adkins

New releases: Monty Adkins & Terri Hron, Åke Parmerud, Francis Dhomont

Posted on by 5:4 in CD/Digital releases | Leave a comment

The latest crop of releases from Canadian label Empreintes DIGITALes has proved as thought-provoking as ever, offering extremely diverse approaches to electronic music, with similarly varied results. Léptidoptères, a new 40-minute cycle of music by composer Monty Adkins in collaboration with recorder player Terri Hron, takes its inspiration, as the name implies, from families of butterflies and moths. The relationship between the various recorders used and the electronic sounds is deliberately flexible, allowing Hron scope for improvisation both materially and structurally. Selections from a distinct palette of sounds are triggered randomly, creating a ‘habitat’ for Hron, which are subsequently shaped by envelopes that, in Adkins’ words, “focus on specific families or combinations of families of sounds”. The first thing to say is that Léptidoptères is generally at some remove from the ambient aesthetic that’s characterised the majority of Adkins’ work in recent years. That in itself is a welcome and interesting development. In its place is a soundworld more spontaneous and unpredictable, where one’s listening focus is drawn primarily to the shifting, moment-by-moment articulations and textural shadings. The relationship between acoustic and electronic is well-balanced, neither predominating overall, taking turns to assume predominance in the foreground. Read more

Tags: , , ,

Mix Tape #36 : Best Albums of 2015

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

A very HAPPY NEW YEAR to you all!

In keeping with 5:4 tradition, here’s the new year Mix Tape showcasing music from each of my Best Albums of 2015. Three hours that demonstrate something of the sonic wonders that materialised last year. Enjoy! — and there are links to buy each of the albums featured in the last two days’ articles.

As usual, the mix tape can either be downloaded or streamed via MixCloud. Here’s the tracklisting in full: Read more

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Best Albums of 2015 (Part 2)

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

And here, bringing 2015 to a truly glorious end, is the conclusion of my countdown of the year’s best albums.

20 | James Newton Howard – The Hunger Games: Mockingjay Part 2 (Original Motion Picture Soundtrack)

The Hunger Games film series has always been more about people and relationships than mere action, and James Newton Howard has consistently mirrored that in his scores. For the final film in the story, Howard gets archetypal, his score working as well as it does by juxtaposing crushingly imposing climaxes, reinforced by massive bass underpinning, with delicate folk music elements that (echoing the film) powerfully intimate the fragility of each and every one of the lives lost or threatened. Soaringly beautiful, solemn, spine-chilling, epic: a fitting accompaniment for the finale of one of cinema’s more emotionally involving franchises of recent years. [Amazon]

19 | Line Katcho – Pulsions

Québécoise composer Line Katcho speaks of using sound in her work “as kinetic matter, representing movement, forces and gestures”, and that’s abundantly clear throughout the five pieces on Pulsions. Their acousmatic nature is characterised by sounds that often fall just beyond one’s reach of recognition, Katcho whipping and spinning these sounds such that they become like gusts of wind manifested as solid objects. These are in turn sliced and fragmented into huge swirling clouds of sharp-edged matter, penetrating a variety of pitched materials, including deep bass drones and undulating sheets of consonance. Captivating and magical. [Kohlenstoff]

18 | Julia Holter – Have You In My Wilderness

It’s three years since Holter’s superb second album Ekstasis (one of my Best Albums of 2012), an album that drew liberally on musical manners from an earlier time, which is also a defining feature of Have You In My Wilderness. One detects backward glances to the lyrical mindset of a figure like Bacharach, particularly in album opener ‘Feel You’ (which could almost be a 21st century render of a number from the ’60s), as well as permeating the jaunty melody of ‘Silhouette’ (until the wonderful point where it structurally breaks apart, unleashing a host of strings) and the lush accompaniment surrounding Holter in ‘Night Song’. But discrete points of influence are numerous and treated extremely fluidly, jazz and improv jostling with ballad and baroque pop elements. An air of wonder pervades throughout, as present in the palpable sense of joy that arises from Holter’s unexpected arrangements as it is in her lyrics. [Amazon]

17 | Anna Þorvaldsdóttir – In the Light of Air

“The latest CD from Icelandic composer Anna Þorvaldsdóttir, In the Light of Air (out on Sono Luminus), develops further her distinctly elemental approach to music. Here, we’re immediately plunged into a primitive, even primeval place, filled with sounds at once inchoate yet at the same time stylised, producing a kind of heightened, ritualistic tone. Things move, yet for the longest time everything seems essentially static, held in check by its own oppressive weight; but, heralded by twangs on deep piano strings, Þorvaldsdóttir conjures up an atmosphere like folk music waking up, underpinned by some unstable drones and enriched by a movement away from gesture towards melody. […] In the Light of Air‘s conclusion bears similarities to its opening, yet is quite transformed, still decidedly weird but fundamentally more stable. Once again, with characteristic economy of means, Þorvaldsdóttir has created a stunningly immersive soundworld, the music of which conveys perceptible threads of narrative, yet which remains resolutely strange. This is perhaps her most primordial music to date, and it’s extremely impressive…” (reviewed in October) [Presto Classical]

16 | Man Without Country – Maximum Entropy

Surely contemporary pop’s most forward-looking and exhilarating synthpop duo, Man Without Country have somehow managed here to top their sublime 2012 debut, Foe. Sensitivity has always been pivotal to their music, a potent human presence balancing out the electronics, along with a leaning (it would be overdoing it to call it more than that) toward hints of the soundworld of their ’80s predecessors. Tracks like ‘Laws of Motion’, a delicious duet with White Sea’s Morgan Kibby, and ‘Virga’ demonstrate how subtle is their handling in this respect; one feels distant memories being triggered yet everything is fresh and new, making for a complex aural result. Ryan James’ vocals are as breathily ambiguous as ever, pushing the lyrics into a middleground of expressive potential, and the duo don’t seem to be anywhere near to using up their gift for lyrical ingenuity. [Amazon]

15 | C Duncan – Architect

You really don’t see music like this coming. Christopher Duncan’s approach to songwriting taps into a musical equivalent of summer holiday polaroids from the 1970s. Far from sounding merely like a retro throwback, his songs are homages to a kind of folk simplicity, inhabiting a dreamlike world of technicolor cheerfulness and harmony. One of the things that’s so remarkable about Duncan’s music is how it never feels remotely twee (despite how i’ve just described it), and also—considering how its composer wasn’t even born until 1989—how authentically it speaks. There’s a decidedly wistful punch being packed here, Duncan’s captivating voice emerging like a pristine artefact from the past that you’d thought was lost many, many years ago. Gorgeous. [FatCat Records] Read more

Tags: , , , , , , , , , , , , , , , , , , , ,

New releases: Simon Steen-Andersen, Monty Adkins & Stephen Harvey, Jennifer Walshe

Posted on by 5:4 in CD/Digital releases | 6 Comments

My round-up of the most interesting new releases this time features three objects: a film, a box and a book, each desirable for very different reasons. The film, available from Dacapo Records, is a much-to-be-celebrated DVD release of Simon Steen-Andersen‘s bewilderingly marvellous work Black Box Music. The memory of my first encounter with the piece at HCMF 2012 is still very vivid, and that’s entirely due to the skilful blend of wit and virtuosity that is encapsulated both within and without the box. It’s true that Steen-Andersen’s work doesn’t always hit home as successfully as this, but that criticism seems almost churlish when confronted by the frankly amazing breadth of his imagination. In Black Box Music, a solo performer directs and interacts with two spatially separated groups of instrumentalists; these directions and interactions come via a camera feed from inside the titular box, filming the soloist’s hands. Cast in three movements, it progresses from a kind of ‘warming up’ to a dazzling display of apparent cause and effect, the soloist’s gestures seemingly eliciting certain types of material and behaviour from the players; but there are times when this becomes subverted, suggesting the relationship is rather more complex than seemed at first. Read more

Tags: , , ,

Electric Spring 2015

Posted on by 5:4 in Concerts | 2 Comments

i don’t know which felt more strange, being in Huddersfield for a music festival in February (rather than November), or the fact that, somehow, for two decades the university’s Electric Spring festival has entirely passed me by. Better late than never, i suppose, especially as this year’s festival, which took place over five days last week, was celebrating a double anniversary, both the 20 years that Electric Spring has existed as well as the 10 years during which it has been run by composers Monty Adkins and Pierre Alexandre Tremblay (an era which has now ended; in future the festival will be curated by a newly-formed committee).

In addition to various daytime activities—including workshops on sound projection (using Huddersfield’s 48-speaker HISS diffusion system) and live coding (supplemented by a late evening ‘algorave’), as well as an MSP symposium and the ‘Yorkshire wiggle’ modular synthfest—Electric Spring centred on five evening concerts, featuring a headline act and opening with a short work by a different composer. The latter varied considerably in terms of both imagination and execution. Ben PottsCuboid was wilfully obtuse, bookended by bouts of tickling a kind of suspended multiple wobble-board, in between which non-sequitur bursts of shifting bandwidth came and went; it was at least mercifully short. Roberto Gerhard‘s DNA in Reflection (Audiomobile No. 2), composed in 1963, formed the soundtrack to a film by Hans Boye and Anand Sorhabal. This felt problematic in a similar way to some of the film accompaniments by Bernard Parmegiani, insofar as the visuals in no way lived up to the more experimental qualities of the music. Where the film was characterised by symmetry and anecdotal references, full of cycling images with large amounts of repetition, Gerhard’s music, encompassing an extremely wide dynamic range, seemed to follow its own predominately amorphous nose (revealingly, he described it an “aleatoric soundtrack”). The audiovisual combination caused a sharp aesthetic jarring that could only be solved by shutting one’s eyes. β Pictoris b by Olivier Pasquet referred to specifics in its programme note—”an extrasolar planet located approximately 63 light-years away”—but his music could hardly have been more generalised, a study in texture formed from the movement and juxtaposition of a body of timbrally similar particles. This was interesting in and of itself, but how Pasquet’s somewhat psychobabbular description matched his material was mystifying. The highlight of these openers for me was guitarist Diego Castro Magas’ rendition of Aaron Cassidy‘s The Pleats of Matter, completed as far back as 2007 but only now receiving its world première. i’m not sure which aspect was more jaw-dropping, Magas’ performance—involving incredibly fast hand and finger agility, racing up and around the fingerboard, to and from the tremolo bar, while operating two foot-pedals—or the resultant music which, apart from a section toward the end, sounded about as far from guitar music as one could imagine. There was, admittedly, a surfeit of information to grapple with on this first listen, Magas positively ploughing through Cassidy’s layers of simultaneous action (one of the most frantic passages can be seen in the excerpt above), but its soundworld could not have been more urgent and inviting. i can’t wait to hear it again. And again. Read more

Tags: , , , , , , , , , , , , , , , ,

New releases: Anna Þorvaldsdóttir, Markus Reuter, Ensemble Musikfabrik, Arditti Quartet, Eric Craven, Audiobulb, Zbigniew Karkowski, Nordvargr, Stockhausen

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

It’s a while since i’ve had a chance to survey new releases, so there’s quite a few that are overdue being highlighted. Some of them appeared on my recent Best Albums of the Year list, such as Anna Þorvaldsdóttir‘s Aerality, out on Deutsche Grammophon. As i’ve mentioned in my previous articles about Þorvaldsdóttir’s work, her overtly elemental music thrives in establishing environments where elements of certainty are both undermined and consolidated. Orchestral work Aerality is a superbly lucid example of this, a work that seemingly keeps trying to reset itself via strong intervals like octaves, fourths & fifths, which are repeatedly overrun and infiltrated by tendrils of material, leading to fascinating passages of grey, almost blank obfuscation (a Þorvaldsdóttir fingerprint). Much of her work explores this friction between clarity and obscurity, variously weighted, and most of the works heard here begin shrouded in abstraction. But what’s so very refreshing about this is the absence of clichéd value associations: clarity here is no more positive a thing than its opposite. The interest, and it is considerable, lies in the juxtapositions and steady evolutions between states, a connotative mirror—if one wishes to see it as such—of Þorvaldsdóttir’s Icelandic heritage but just as much a liberated celebration of the primordial plasticity of sound. Read more

Tags: , , , , , , , , ,

Mix Tape #32 : Best Albums of 2014

Posted on by 5:4 in Best of the Year, Mix Tapes | Leave a comment

HAPPY NEW YEAR everyone!

Many, many thanks to all of you who have followed the blog through the last 12 months, particularly to all those who have commented and tweeted in response or retort. As usual, here’s my new year mix tape featuring a track from all forty of my Best Albums of the Year. i said yesterday how 2014 had been a breathtaking year, and listening to this 3-hour condensed version of its best music, i really think that becomes obvious.

Enjoy! – and assuming you do, please support the artists wherever possible; links to purchase each of the albums can be found on the last two days’ articles.

Here’s the tracklisting in full, followed by the download link; and you can also stream the mix tape via Mixcloud. Read more

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,