Mixtape #46 : Body

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For the new 5:4 mixtape, i’ve turned to that which is closest to us all: the human body. Not a particularly promising theme, you might think, but once i began digging through my music library the sheer quantity of body references quickly became overwhelming (take your pick whether that says something about music in general or my collection in particular). i’ve structured the mix in four sections, each begun with a track concerning the whole body: part one rises from the feet up to the waist and hips, part two moves up the arms from the fingertips to the shoulders and chest, then there’s an interlude focusing on the heart (the only part of the mix to delve inside the body), and finally part three ascends from the chin to the top of the head. Appropriately enough for a body-oriented mix, it’s a little tongue-in-cheek from time to time, and because of what i wanted to include i’ve relaxed my usual rule of only featuring an artist once.

The range of music encountered on the journey is as broad as you’ve come to expect from these mixes, encompassing electronica and dance (Above & Beyond, Goldfrapp, Art Of Noise, Sunken Foal, Freezepop, Peaches, Venetian Snares, Depeche Mode, Erotic Market, Ryoji Ikeda, Bloodgroup, Gazelle Twin, Prurient, Body Sculptures, Man Without Country, Purity Ring, The Flashbulb, Björk, Kate Wax), film and TV scores (John Williams, Jerry Goldsmith, Cliff Martinez, Joseph Trapanese, Aria Prayogi & Fajar Yuskemal, tomandandy, Jay Chattaway, Angelo Badalamenti & David Lynch, Howard Shore, Jim Williams, Jed Kurzel, James Newton Howard, Mica Levi, Jerry Goldsmith), light music (Paddy Kingsland, Bass Communion, Pochonbo Electronic Ensemble, The Real Tuesday Weld), pop of various chamber, rock, lyrical and plastic hues (Belle and Sebastian, Transvision Vamp, Chromatics, Björk, Anna Madsen, OY, Lene Alexandra, Chvrches, Goldfrapp, Sleep Party People, Kate Havnevik, Braids, CocoRosie), ambient (Venetian Snares, Chubby Wolf, Nordvargr, Not, Pinkcourtesyphone, David Wenngren & Christopher Bissonnette, Moss Covered Technology), leftfield and experimental (Frank Zappa, Squarepusher, Waldron, Stapleton, Sigmarsson, Haynes & Faulhaber, Grutronic, irr. app. (ext.)), and electronic (Aranos, Andrew Liles, Pauline Oliveros, Hecq, The Hafler Trio, The Caretaker, John Zorn, Indignant Senility, Daniel W J Mackenzie).

Four hours of bodily bits and bobs; here’s the tracklisting in full, including links to get hold of the music. Once again, the mix can be downloaded or streamed via MixCloud. Read more

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Mixtape #39 : Days

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The new 5:4 mixtape takes as its theme the days of the week, charting a slow progression from Monday to Sunday. That might not sound like a particularly promising theme, but i’ve been noticing in recent months just how many tracks in my music library contain either specific or more general references to days, which led to the idea for this mixtape. Perhaps unsurprisingly, due to it being (from an aural perspective) such an abstract concept, the music in this mixtape is more than usually eclectic, but once i again i’ve been able to navigate what i think is a convincing, interconnected sonic pathway through exceptionally diverse material. This exercise was revealing in the extent to which some days of the week have received a greater amount of musical attention, while others are much more neglected. This clearly has more than a little to do with our cultural experiences and exploits: plenty of music to choose from for the weekend – when we’re more likely to be away from work, enjoying ourselves – while Tuesday and Wednesday in particular provided relatively few options (though good ones).

Once again, the mixtape includes some of my favourite music, old and new, and i’ve divided it up into sections for each day, demarcated with interludes. A couple of composers appear several times: there are various excerpts from Nordvargr‘s 8-hour epic Sleep Therapy and some pieces from Gesualdo‘s Tenebrae music. i’ve drawn on my love of easy listening on a number of occasions too, featuring some delicious slices of fragrant cheese from Charlie Byrd, Orchestra and Chorus, the Polish Radio Orchestra and The Cavendish Ten. Songs of a multitude of stylistic persuasions litter the mix, encompassing electronica (Yazoo, Client, SPC ECO, Bat For Lashes, Kate Havnevik), ballad (Emiliana Torrini, Get Well Soon), dream pop (Emmy Rossum, Tori Amos, Mitski, Desire), manic pixie dream pop (CocoRosie), light rock (Chrysta Bell, Asobi Seksu), experimental chamber rock (Chrome Hoof) and lo-fi (Leah KardosRose Elinor Dougall). Devoid of words but packing diverse beats are tracks from Christ., The Flashbulb, Free*Land, Cemeteries and tomandandy. At the more abstract end of the continuum, i’ve included a range of more free-form electronics from the likes of Ulrich SchnaussColin Andrew SheffieldNovellerTetraSaddleback (Richard Skelton), Brian EnoaTelecineThe Noisettes and Stray Ghost. There’s also a burst of Thomas Newman‘s luscious score for Less Than Zero and a gorgeously potent movement from perhaps Per Nørgård‘s greatest symphony (No. 6) towards the end of the mix. i’ve featured a small selection from my now vast collection of renditions of Gloomy Sunday – one of my favourite songs, about which i really ought to write a book sometime. In case it isn’t obvious, Venetian Snares and Tsukimono are reworking Billie Holliday’s classic recording, in both cases coming up with something wonderful, whereas DJ Phoenix reinterprets the song within a torrent of squelch, grime and bass. And the whole thing kicks off with a tantalising six-minute introduction from Marco Blauuw & Yannis Kyriakides.

So, a highly eclectic week condensed into three hours of music; here’s the tracklisting in full, together with links to buy the music. As ever, the mix can be downloaded or streamed via MixCloud. Read more

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

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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

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From the ridiculous (via noise) to the sublime

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When any series comes to an end, it’s an emotional experience, and so it was yesterday when the last two CDs in Andrew Liles‘ 12-CD Vortex Vault series dropped through my letterbox. Black Pool and Black End mark the conclusion of an amazingly prodigious cycle of discs, released once a month, beginning at the end of 2006. Andrew Liles’ music was one of my biggest discoveries from last year, recommended to me by the equally remarkable Matt Waldron (irr. app. (ext.)). There’s a fascinating mix of both the beautiful and the disturbing in his music, with highly evocative (and sometimes, very funny) titles, including “Bamboo Sheep”, “An Unspoken Narrative Regarding Institutional Abuse”, “Ghost Breath – A Lament For A Bear Cub Called Медвежонок”, “Taking Bumblebee to France for the Afternoon”, “36-23-33½” and “Matthew Doesn’t Like Bananas in his Ice Cream”. These titles are often frivolous, but sometimes rather more deliberate: “The Jean Michel and Vangelis Taboo Liaison”, for example, explores the kinds of sounds beloved of those two “composers”. He’s capable of real gravitas too, though, and the final piece on Black End is like an electroacoustic/symphonic finale to the series (quixotically broken up into 94 tracks!). Read more

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