Nordic Affect

Dark Music Days 2019: Caput Ensemble; Nordic Affect & Maja S K Ratkje

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Last Friday evening at the Dark Music Days we were back within Harpa’s Kaldalón hall (the cube-shaped space of which was disconcertingly impressive every time i entered it) for a concert given by a group new to me, Caput Ensemble, directed by Guðni Franzson. Having been bemused the previous day at hearing a collection of Icelandic orchestral works that were, in general, characterised more by their similarities than by their individuality, it was a relief to hear four new Icelandic ensemble pieces that could hardly have been more different from each other, in terms of both inspiration and execution. Furthermore, attention was turned away from the theme of nature that had governed the orchestral works, in favour of a more direct engagement and scrutiny of sound itself.

In the case of Rounds (being heard for the first time in a revised version) by one of Iceland’s most renowned composers Haukur Tómasson, the notion of the envelope – the way a sound begins, develops and ends – was being explored. It posed the question of, within this group context, what constituted a ‘sound’, which Haukur’s music suggested was not about individual instruments but the product of many combining to form communal sonic entities. This was initially reinforced by having each one of these entities conclude with a loud pizzicato accent like an unequivocal full stop, followed by a pause. As the piece developed it posed the additional question of what makes a sound into an idea – and indeed whether a sound can itself be an idea. This was provoked by the highly gestural nature of the material, forming something like swatches of sharply-defined patterned fabric that, over time, Haukur arranged into a patchwork, such that the joins were often sudden but clearly part of a bigger overall design. Though a touch superficial, Rounds was certainly enjoyable while it lasted. Gunnar A. Kristinsson‘s Rætur [roots], a world première, took inspiration from that most elemental of things, the overtones of the harmonic series, explored in three movements, each of which upped the microtonal ante. Read more

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Mixtape #41 : Best Albums of 2017

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

HAPPY NEW YEAR!!

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 mixtape 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 mixtape 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)

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

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.

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New (Nordic) releases: Vilde&Inga, Nordic Affect, Trio Aristos, Iceland Symphony Orchestra

Posted on by 5:4 in CD/Digital releases | 1 Comment

There’s been a number of very interesting new releases recently featuring composers and performers from the Nordic countries. At the most unconventional end of the spectrum are violinist Vilde Sandve Alnæs and double bassist Inga Margrete Aas, a Norwegian duo who perform free-improvised music together as Vilde&Inga. Their new album Silfr, released last month on the experimental Sofa label, features ten pieces that demonstrate the fascinating way the duo utilises their instruments to explore a single idea. This in itself is quite refreshing. So much contemporary music seeks to cram shedloads of invention into even relatively short works that to hear such a single-minded approach as that on Silfr is somewhat novel, even courageous. The most extreme pieces are so unwavering as to seem almost behaviourally solipsistic. ‘Røykkvarts’ (“smoky quartz”) comprises an essentially unpitched texture of assorted scratchings and scrapings – so anonymous it’s hard to tell it’s being executed on string instruments at all – with occasional pizzicato pitches allowed to resonate. Though ostensibly more rapid, ‘Sprø Glimmer’ (“crazy glimmer”) is similar, placing high, unstoppable, glistening arpeggiations against an only slightly less intense tremolando, riddled with overtones, while ‘Aurum’ is located in weak, bleak territory, the instruments barely able to speak to the point that the background ambience becomes a distinct presence in its own right. The title piece is the most immersive of these, setting up a moto perpetuo of tremolandi and ricochets, stretching out notes at various points until the whole thing has its pitch content erased towards the end, culminating in the noise of frantic physical movements. Fantastic. Read more

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