Netherlands

Jeroen Diepenmaat – Double Landscape

Posted on by 5:4 in CD/Digital releases | 8 Comments

One of the more unusual items to have arrived at my door recently is Double Landscape, by Dutch “visual artist with a preference for sound” Jeroen Diepenmaat. It’s unusual insofar as it comes in the form of a small plastic wallet containing a small business card CDr – which contains just a single track, lasting just a few minutes – together with a fold-out inlay card with drawings of cassette-like images and a download code. It would have been a lot of work to go to for just a few minutes of music, and indeed the download reveals the actual entirety of the album: 84 tracks (the CDr containing just one of them) lasting a little over five hours. That’s a lot of music, but it doesn’t take long to realise that there’s a theme at play here, one that draws connections with both the Roland Kayn box set i reviewed earlier this week as well as the examples of ‘steady state’ music discussed recently.

The Kayn connection is twofold. First, each of the 84 movements is a paradigm of the whole; the way each one behaves is, essentially identical, though the specific details are unique. Second, the range of materials used is relatively small, establishing a strong relationship between the different pieces, which are, in essence, sonic siblings. More on this in a moment. The ‘steady state’ connection is to do with this behavioural commonality, involving pairs of cycling loops. These loops are derived from a recording of Diepenmaat playing piano; this was split into seven tape loops, inserted into physical cassettes, which were then combined in pairs. Double Landscape is the product of the various possible combinations of these pairs. The cycling process of these loops quickly establishes in each piece a steady state, one that – unlike most of the examples discussed previously – has a distinct ambient quality, the resultant musical texture resulting from the coincidental ways in which the details of each loop impinge against each other. Both the serendipity of the process and the physicality of the medium are important to Diepenmaat, as he explains:

I like coincidence, so I made the rules to let the coincidence work. Besides the combinations, due to small differences in tape length the sounds move towards/apart from each other. Also tape hiss and the wear of the tape is audible in some of the tracks. I like it when it is alive like that.

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Electric Spring 2017

Posted on by 5:4 in Concerts, Electronic | 8 Comments

i was fortunate to catch four-fifths of last week’s Electric Spring festival, Huddersfield University’s annual exploration and celebration of things electronically musical. As usual, attention was focused on a daily evening concert, featuring a substantial programme preceded by one or more relatively brief opening acts. The festival’s emphasis on electronic music felt conspicuously different this year; the connection seemed pretty tenuous in Thursday’s concert showcasing three films (admittedly all including electronically-created or -processed music to some extent, and the event was a tie-in for the university’s Sound and Music in Documentary Film symposium, which was taking place at the same time), as well as drummer Dave Smith’s Saturday gig, which employed little in the way of electronics beyond a few loops, some reverb and a modicum of pitch-shifting. i mention this more as an observation than a complaint: the concerts were no less enjoyable for their relatively minor use of electronics, but it’s fair to say that these two events, in retrospect, seemed more like vanity projects for the particular members of staff who organised them than deeply meaningful contributions to Electric Spring’s general ethos. Or maybe Electric Spring is going somewhere else in future; i guess we’ll see. Read more

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Ravaging, torrential, ravishing, triumphant: Köhnen Pandí Duo – Darkness Comes in Two’s

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There’s a time to get excited about music, and there’s a time to leap around with irresistible, exuberant elation. 2017 is less than two weeks old, and already I have no doubt whatsoever that I’ve heard what will prove to be one of its very best albums. Looking back over the last decade, one of its most epic recurring zeniths—running through it like a range of mountains towering over almost everything else—has been the output from two sibling projects of Dutch musician Jason KöhnenThe Kilimanjaro Darkjazz Ensemble and The Mount Fuji Doomjazz Corporation. They’ve appeared on 5:4 on numerous occasions—TMFDC’s Anthropomorphic was my best album of 2011, Roadburn was almost my best of 2013, and both groups have been featured on several of my mix tapes—and what draws me in so inexorably every time is its astoundingly complex amalgam of breathless improvisational play with doom-laden but paean-like (post-)apocalyptic melancholy. That’s slightly more true of TMFDC than TKDE (the former being the live improvisation version of the latter’s more rigorous compositional approach), and it’s equally the case with Köhnen’s latest project, Köhnen Pandí Duo, a collaboration with Hungarian drummer Balazs Pandí, best known in the last five or six years for his work with Merzbow. The duo’s first album, Darkness Comes in Two’s (sic), was digitally released a couple of days ago, and it’s not just something special, it’s incredible. Read more

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