Monty Adkins

Mix Tape #41 : Best Albums of 2017

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As of today, 5:4 is ten years old, so first of all i want to say an enormous thank you to all of you who have read, commented, enjoyed, shared and supported this blog over the last decade, especially to my merry band of patrons. As this is a special year for 5:4, i’ve planned some exciting things for the next twelve months, all of which will be revealed in due course.

Meanwhile, i’m starting the year in traditional fashion, with a new mix tape featuring something from each and every album in my Best of 2017 list. It’s typically eclectic and non-partisan, and while in many respects last year may have left a lot to be desired, musically speaking this mix does at least prove that there was a great deal to consider and celebrate. Links to buy each of the albums can be found in the previous two days’ articles.

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

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Best Albums of 2017 (Part 2)

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So here they are, the best of the best of 2017. Your CD racks and audio libraries would be so much better off with these incredible gems nestling among them.

Read more

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Ambient@40 conference

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Next year will mark the 40th anniversary of the release of Brian Eno’s Ambient 1: Music for Airports, an album that established a manifesto, an aesthetic, an ideology and an archetype for ambient music. This is something i’m intending to celebrate and explore on 5:4 throughout 2018, but beyond this, i’m delighted to announce that at the end of next February there will be a conference devoted to ambient music, hosted by Huddersfield University, organised and chaired by Monty Adkins, Rupert Till and myself. The call for proposals was released yesterday, and the details are summarised below:


Deadline: 17.00 (GMT), Friday 12th January 2018.

In the forty years since the release of Brian Eno’s Music for Airports the concept and aesthetics of ambient music have proliferated, influencing artists as diverse as Taylor Deupree, Steven Wilson, David Lynch and The Orb, infusing drone, microsound, minimalism and experimental electronic music as well as aspects of contemporary instrumental music. The aim of this two-day conference is to re-appraise ambient music in relation to Eno’s milestone release.

Ambient@40 will be hosted in the newly opened Oastler Building at the University of Huddersfield from Friday 23rd to Saturday 24th February. The programme committee invites proposals for:

     a. individual papers (20 minute presentation with 10 minutes for questions and discussion);
     b. performance and paper (10 minute per performance, 10 minute presentation with 10 minutes for questions).

The committee welcomes proposals from academics, independent scholars, research students and practitioners.

The conference will run alongside the Electric Spring Festival ( and an evening concert on Saturday 24th February at the Festival will close the conference.

The program committee will also invite a selection of those giving papers to write them up in the months following the conference (deadline June 2018) as book chapters for publication in late 2018 / early 2019.

Submission and selection process

All proposals should be submitted to Prof. Monty Adkins ( by the deadline, Friday 12th January 2018 (17.00, GMT). Individual paper submissions should include an abstract (350 words) and an author biography (200 words). Performance and paper submissions should include a brief overview of the audio presentation including technical resources required (300 words), links to online samples of audio work, an abstract (350 words) and an author biography (200 words).

The committee aims to notify proposal authors of its decision by Friday 19th January 2018. Those selected will be asked to confirm their acceptance and technical setup. The full programme will be announced online and booking opened on Monday 22nd January 2018. The Ambient@40 conference registration fee will be £50 (£30 for students/concessions).

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Monty Adkins – Shadows and Reflections

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An interesting aspect of what i’ve been calling ‘steady statism‘ is the relationship it has with the idea of stasis. What is a musical stasis? Considering that music unfolds in time, isn’t it an oxymoronic idea? Furthermore, is such a hypothetical stasis intentional (objective) or perceptional (subjective) – or both? When writing about Markus Reuter’s Falling for Ascension, i remarked about one of the fundamental characteristics of steady statism: behavioural stasis, where the music changes over time but its underlying mode of operation – the compositional processes that lead to the musical material – remains essentially static, a system out of which musical outcomes emerge. More recently, i’ve been reflecting on the other kind, perceptional stases, where the emphasis is on extreme stillness of utterance, which may or may not be (or appear to be) the product of a behavioural stasis.

A striking example of this can be heard on Monty AdkinsShadows and Reflections, released a couple of months ago on the Crónica label. This album was one i’d been anticipating for a while; Adkins spoke about it briefly during the Dialogue we recorded together in the spring, explaining how it was inspired in part by the process of painter Gerhard Richter:

…it’s the way in which he chooses certain types of colours on his squeegee, and then draws them very slowly down the canvas. So one of the things i’ve been working on recently is how you could actually compose very short fragments of material and then slow them down, and then, as he does, layer them on top of one another. So i’ve just finished a long, 40-minute piece, and that piece is made up of six three-minute pieces, and what I did was slow those pieces down, just as Richter would take very specific parts of the paint, and then slowly draw those across and add extra layers on the canvas. So that piece was drawn out of the technique of his paintings. [… It has] no gesture in it at all, which is quite unusual for me […] it does go somewhere but it’s pushing that to the absolute extreme: out of forty minutes, the main thing happens at thirty-two minutes. And I find, [when] you get to that point, there’s almost a sense of ecstasy.

This latter aspect is a familiar Adkins trope, one i’ve remarked upon numerous times previously, where the timing of a gesture or sound is not merely pivotal but transformative, making one reappraise much if not all that went before. But my anticipation for Shadows and Reflections was particularly piqued by the idea of it being essentially bereft of gesture, suggesting an altogether more ‘flat’ sonic journey. Read more

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Mix Tape #40 : Miniatures

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Even more than is usually the case, the new 5:4 Mix Tape is a pure stream of consciousness. i’ve returned to a theme i explored in one of the earliest mix tapes, miniatures, once again setting myself a limit of music lasting under two minutes. With a shortlist of 100+ tracks (each one a personal favourite), i then simply followed my nose, treating them as puzzle pieces for a newly-created jigsaw, or perhaps more accurately as tessera for an eccentric aural mosaic. As usual, they embrace a mixture of new and old, and stylistically it’s all over the place, though its narrative was entirely suggested by the material, sometimes dovetailing or morphing, elsewhere successive tracks acting as rude non sequiturs. Along the way you’ll encounter abrasion (Alejandro Jodorowsky, Naked CityBenjamin Wallfisch (whose IT soundtrack is gleefully insane), aTelecine), playfulness (Syd Dale, Andrew Liles, Camille), moody atmospheres (Laura Sheeran, SupersilentVangelisOlga Neuwirth, Beacon, Gareth Davis & Machinefabriek, Alva Noto, Ben Lukas Boysen), edgy lyricism (Zola Jesus, Elsiane, Gazelle Twin, Clark, Jenny Hval), convoluted beats (Don DavisZavoloka & AGFThe Flashbulb, Derek K Jeppsen, Shad[]wb[]x, Ryoji Ikeda), drama of various hues (James Newton HowardPeter AblingerVeli-Matti PuumalaClaude Vivier), dreamy ambient (Bad Loop, The Real Tuesday WeldCliff MartinezGet Well SoonMonty AdkinsAphex Twin), rich tonal yum (Marcel Dupré, Carpenters, Cyrillus KreekTõnu Kõrvits) and various other electronic, experimental or otherwise unconventional amuse-bouches (Francis DhomontFrank ZappaNicolas ObouhowAndrew Lloyd Webber (yes, really), Sophie, Steve LevineJohn ZornKenneth Kirschner). And all of this in just one hour.

48 tiny tracks ranging in duration from 1’59” to a mere 26 seconds. Here’s the tracklisting in full, together with links to obtain the music. As ever, the mix can be downloaded or streamed via MixCloud. Read more

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The Dialogues: Monty Adkins

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It’s a real pleasure to present a new instalment in my occasional series The Dialogues. This episode is in conversation with composer Monty Adkins, whose music i’ve written about many times on 5:4 and hold in very high regard. Our discussion explores a wide range of topics, including the fundamental aspects of Adkins’ compositional aesthetic, the history and development of his practice, the influence of visual art throughout his output alongside musical influences, considerations of beauty, narrative vs. abstract approaches to composition, the relationship between and implications pertaining to ‘authentic’ and artificial sonic environments, types of listening, perceptions of time, notions of the sacred, the imposition (and benefits) of compositional restrictions, the organisation/structuring of non-teleological music, combining electronics with live instruments, and Adkins’ relationship with the listener. In the course of our conversation, several articles and papers written or co-authored by Adkins are referred to; all are freely available to download, and links to all of them can be found below.

As before, i’ve included numerous excerpts of Adkins’ work throughout the Dialogue in order to illustrate or clarify what we’re talking about; a complete list of the excerpts is below, with links to buy/stream the albums from which they come. As usual the Dialogue is available to download or you can stream it via MixCloud. Despite the considerable length of our conversation, both Adkins and i felt afterwards that there was much more to talk about, so there may well be a second part at some point in the future.

i want to thank Monty for generously giving me so much of his time, and for being prepared to talk so openly (and for so long!) about his life and work. The trajectory his music has taken over the last twenty years is markedly different from many involved in electronic music, and i hope both newcomers and long-standing fans of his work will find our discussion as fascinating and illuminating as i did. Read more

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

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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

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