Simon Cummings

Gigs, gigs, gigs: Night Liminal; Who knows if the moon’s

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A couple of performances of my work are coming up soon. Most imminently is the #EarBox series of art and music performances organised by the University of Kent. Their next event features my 2012 ambient work Night Liminal in conjunction with a new exhibition titled Extending the Frame. It’s taking place at 1.10pm on Thursday 24 May at Studio 3 Gallery, in the University’s Jarman Building, and admission is free. Further details can be found on the University’s music department blog, and you can read all about Night Liminal here.

To mark the occasion i’ve created a 50% discount code for the digital download of Night Liminal, valid until the end of this month. Head over to the Bandcamp page and when adding to the cart enter the code earbox to get the discount.

And next month soprano Jessica Summers will be giving the world première of my song for solo voice Who knows if the moon’s. Despite lasting a mere two minutes, this little song – a setting of E. E. Cummings’ well-known poem – is a piece i once thought i’d never complete. It dates back to my undergraduate days; i broke off working on it in May 1995 following the abrupt death of my father, and could never bring myself to return to it. It then sat around for nearly two decades until i rediscovered the sketches and finally managed to complete it during my PhD at the Royal Birmingham Conservatoire. Partly because of how personal it’s become, i’ve not shown the piece to many people, but i’m delighted that Jessica will finally be performing it; it really is high time i let go of this music.

Accompanied by pianist Jelena Makarova, the concert is one of Jessica’s Living Songs recitals, and takes place at 1.15pm on 12 June at St Mary-at-Hill Church in London. The concert also includes music by Debussy and Stuart MacRae. More details can be found at the church’s website, and the Living Songs project can be followed on Twitter at @LivingSongs21.

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New release: ma

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In a few days’ time, my most recent cycle of electronic music will be released by the adventurous Portuguese label, Crónica. The title of the cycle is the Japanese word (ma), which is difficult easily to translate into English. The concept it embodies is a spatial one, specifically the gap between two discrete structural parts or elements, with associated connotations of an interval or pause. In his book Silence in Philosophy, Literature, and Art, Steven Bindeman has described 間 as “the simultaneous awareness of form and non-form … Ma is not created by compositional elements, but takes place in the imagination of someone who experiences these elements. Therefore it can best be defined as the experiential place that is held by an interval.” As such, 間 is often regarded as an embodiment of ‘negative space’, where the apparent absence of substance or form or sound is rendered concrete and tangible.

Those of you who have followed my work over the years may occasionally have heard or seen reference to something i was working on with a provisional title ‘TACET.’, which was originally intended to be an enormous project containing many hours of music. However, as this music was born out of and confronts a very difficult and painful period of my life, i eventually realised that it wasn’t particularly healthy to persist with the project beyond a certain point. My response to this period took shape through meditation on the concept of 間, in which silence is not a simple absence or emptiness but rather becomes a focal point, with a shape, character, and energy that all contribute to a larger whole.

The composition process began with recordings that i made during a traditional Anglican service of Evensong. Everything was then removed from the recordings with the exception of the brief silences that fall between the various sections of the service, fragments of sound capturing echoes, resonances, and glimpses of ambience. These fragments were then used as the sound palette for a series of improvisations that formed the basis for each of the pieces in the cycle. They were subjected to extensive processing and sculpting, and are only occasionally heard in their raw state.

The concept of 間 implies a certain degree of tranquillity and calm, but the emphasis in this music is focused on connotations of negativity. Put simply, this is (from my perspective, at least) angry music, veering between nervous, fretful twitching and unbridled, distorted ferocity. Rage and obsession are recurring traits throughout, manifesting in harsh, acidic, repetitive clatter and throbbing pulses, and even in the more quiet passages – of which there are very many – the music is designed to emphasise tension, unrest and a pervading sense of ominous dread. Listening through headphones or in an extremely quiet space is especially recommended due to the quiet and subtle material that features in some of the pieces.

In its final form, 間 comprises eight works, lasting around an hour, many of which take their titles from poems by E. E. Cummings:

  1. mightily forgetting all which will forget him (emptying our soul of emptiness) priming at every pore a deathless life with magic until peace outthunders silence
  2. }rest{
  3. i see thee then ponder the tinsel part they let thee play
  4. from Silence; of Nothing
  5. O visible beatitude sweet sweet intolerable!
  6. Negative Silence (detail)
  7. [ULTRA]—infra
  8. what neither is any echo of dream nor any flowering of any echo (but the echo of the flower of Dreaming)

There is, i hope, some semblance of catharsis running through the cycle, and despite my above description of the nature of the music, there’s also a great deal of beauty – and, at the last, peace – to be found along the way.

Crónica are releasing 間 as a limited edition cassette (containing a miniature bonus track hidden at the very end of side B, which encapsulates the essence of the entire cycle) as well as a digital download. Further details and information can be found on the Crónica website as well as their Bandcamp page. i also have a small supply of the cassettes, so if you’d prefer to buy them directly from me (£7 plus postage), then just send me a message either from here or here.

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Electric Spring 2018

Posted on by 5:4 in Concerts, Premières | 1 Comment

Huddersfield is supremely talented at providing distractions (and shelter) from the vicissitudes of winter: HCMF does the honours at the start of the season, in late November, whereas at the other end, in late February, it falls to the university’s annual five-day festival of “electronic sonic exploration”, Electric Spring.

There are various reasons why over the last few years i’ve grown to love Electric Spring. First, it’s the mix of familiar and – most often – unfamiliar names: at most festivals one encounters the same composers again and again, and it’s exciting to have minimal use for one’s expectations. Second, it’s a festival that’s prepared to take big risks: of course, they don’t always work, but its preparedness to go places and try things fearlessly is so admirable, and whichever way the results go, they’re often spectacular. Third, i’ve rarely encountered such inordinate attention to detail in concert giving: everything from the sound system – based around HISS, the ultimate wet dream for surround sound enthusiasts – to the lighting to the stage presentation and everything else is always carefully considered and clearly matters enormously to everyone involved in putting the festival on. And fourth, which only makes my third reason more remarkable, all of the concerts are free, making Electric Spring, besides all else, an amazing act of generosity. Read more

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Mixtape #42 : Late Night

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As part of 5:4‘s tenth anniversary celebrations, i’m going to be putting out a new mixtape each month throughout 2018. While they’re quite time-consuming to curate and create, they’re also a lot of fun, and it’s been clear for a long time that the mixtapes are a popular feature on the blog. The very first of my mixtapes dates from the earliest weeks of the blog’s existence, back in February 2008, and for this new mixtape i’m paying homage to myself with a return to that original theme, music for late night listening. In fact, the whole idea of putting out mixtapes began due to the fact that i already created various playlists in iTunes with specific themes or to suit specific listening contexts, and the one i listened to most regularly at that time was a late night one.

The structure of this two-hour mix is four 30-minute sections, each of which is started by a piece by Dick Mills, one of the composers who worked at the BBC Radiophonic Workshop; each of the pieces featured here are inspired by astronomical phenomena. Section one is mostly about establishing the tone of the overall mix, focusing on a number of tracks that act via wave-like swells or soft pulses (Bass CommunionBreaking, Venetian Snares, Hecq, Alva Noto) – there’s something intrinsically restful about this kind of behaviour – alongside more mellifluous or amorphous music (Bernat Vivancos, Jonathan Coleclough, Brian Eno). Section two tilts the mix into darker territory, passing through hauntology (The Caretaker), ominous noir (Angelo Badalamenti & David Lynch), convoluted field recordings (Christopher McFall) and edgy dark ambience (Ektoise, Aphex Twin).

Section three is the most variegated and, in the best sense of the word, inscrutable, encompassing blank fields of reverberant electronics (Error Genético), slowly shifting, somewhat impenetrable clouds of pitch formations (Kenneth Kirschner, Benjamin Dauer), intense meditations, one long, one short (Mirjam Tally, Nicolas Obouhow) and acousmatic sound-theatre (Kreng). Section four initially takes the mix through its most broken-up textures yet, from both experimental electronic and doomjazz perspectives (Andrew Liles, The Thing With Five Eyes) before bringing it back to stability and calm, through a series of more peaceful ambient-esque pieces (Simon Cummings, Fovea Hex, Ochre). i’ve concluded with a second track by The Caretaker, one that i’ve listened to countless times just before settling down for sleep, bringing the mix to a decidedly poignant end.

The accompanying artwork uses a photograph of the night sky that i took in July 2015. As usual, the mixtape can be downloaded or streamed via MixCloud; here’s the tracklisting in full, including links to obtain each of the albums: Read more

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Kantos Chamber Choir – The Silver Stars at Play

Posted on by 5:4 in Advent & Christmas, CD/Digital releases, Seasonal | 1 Comment

‘Tis the season and all that, and while the majority of festive new releases are concerned with reheating the usual fare, there’s one new Christmas disc that i particularly want to single out. Called The Silver Stars at Play, it’s a collection of 23 contemporary Christmas carol settings, performed by the Manchester-based Kantos Chamber Choir, conducted by the choir’s founder Elspeth Slorach. i won’t go into my usual level of depth about the disc due to the fact it includes a setting of my own, and while i’ve long regarded objectivity and impartiality to be pretty mythical and irrelevant, for obvious personal reasons i would of course love everyone to go out and support the disc by buying as many copies as possible.

That being said, while music of this ilk is inevitably going to be a somewhat polarising affair, what makes this collection so worthwhile is its general avoidance of the kind of mawkish sentimentality and blank enthusiasm that one encounters in far, far too much Christmas music. In place of the former are broad, rich harmonic palettes, tonal but occasionally wayward. Andrew Cusworth‘s Of a rose synge we is the most sumptuous example of this, as well as being the most externally calm, though everything about it suggests inner joy and ecstasy. Matthew Coleridge‘s short but expansive and beautiful Balulalow is only marginally less lush, flirting with (but, mercifully, not embracing) the kind of harmonic writing redolent of US choral composers. John Turner‘s brave attempt at a new setting of Away in a Manger (retaining the established rhythmic scheme) is simpler, as is Peter Parshall‘s That yongë child, to gorgeously tranquil effect, while another lullaby, Mark Hewitt‘s Silent Night, rather nonchalantly sets out as though it’s nothing to do with the original carol before a number of dropped hints lead to a thorough reworking of it, its harmonies and rhythms both wonderfully convoluted. My own Infant holy, Infant lowly stays true to the original Polish melody (though using the correct original descending line as opposed to the misprinted version that one usually hears), with new harmonies designed to gently emphasise elements of the text.

However, it’s not all blissed-out devotions and adoration. Read more

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New digital EP: Studies, vol. 1

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It’s been a while since my last CD release, so i’m especially pleased to announce that, a few days ago, i brought out a new EP, the first in an ongoing series. Those of you familiar with my earlier electronic work will know that there’s been a tendency to embrace extremes. My last two discs, Night Liminal and Dither • Pother • Roil exemplify that pretty strongly. For the last couple of years, my electronic music has turned away from this mode of expression, focusing instead on a more indirect, allusive type of utterance, which has its roots in one of my earliest electronic pieces, Triptych, May/July 2009, as well as the Simulated Music cycle.

This has resulted in a growing collection of Studies, pieces that primarily explore my interest in structuring sound materials from an initially visual perspective, many of which i regard as something that might be called ‘Op Music’, a sonic equivalent of Op Art. Diverse in character, some highly abstract, others moving through clear progressions and processes of evolution and development, these Studies are all entirely synthetic, sculpted from raw electronic sounds without use of existing sound materials. As in much of my earlier work, the juxtaposition of pitch and noise and the reappraisal of what defines each (and their boundaries) continue to be recurring features of these pieces.

i’ll be making a selection of these Studies available in an ongoing series of digital-only EPs, the first of which, vol. 1, is now available, from my Bandcamp site (which includes lossless) as well as iTunes and Google Play. For those of you who like to try before you buy, the EP can be streamed via Spotify (embed below).

The accompanying artwork is by the Polish generative artist Tomasz Sulej, whose work i find inspiring and very beautiful, and which makes a perfect analogue for the soundworld of the Studies.

Further volumes of these pieces will be released during the months ahead.


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New digital release: Could you not watch one hour with me?

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Available today for free download is Could you not watch one hour with me?, a conceptual work i created a couple of years ago. Inspired by an act of worship that takes place today, Maundy Thursday, the material heard in the work comprises a one-hour recording made during The Watch, a night vigil that has no formal liturgy or structure, consisting solely of the silent thought, meditation, worship and prayer of the faithful. Presented in this context, my intention is to confront the connotations of that question, exploring notions of substance and absence, silence and sound, focus and lassitude, emptiness and the sacred. The work revisits from a fresh perspective the well-established idea that there is no such thing as silence. It also throws down a challenge in its title, asking, even daring the listener to sacrifice an hour to an end that may appear futile or meaningless. It is my sincerest hope that, in rising to that challenge, one might discover a depth and richness that transcends the silence, and perhaps even a glimpse of the holy.

The work is dedicated to the memory of Rudolf Otto.

For more information and to download, click here.

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New CD coming soon: Dither • Pother • Roil

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In a week’s time, a new CD of my electronic music will be released, titled Dither • Pother • Roil. It contains three distinct but related pieces, which began life in a series of improvisations made in early 2008. Somewhat inexplicably, i promptly lost the recordings and forgot all about them until the start of this year; between February and October i then extensively reworked and developed them into their final, very elaborate forms, which together last around 49 minutes. Here’s a smidgeon from the blurb-spiel:

There are ways in which this trio of works relates to and draws upon both the techniques and sentiments of my earlier electronic music. There are echoes of the shifting abstractions of the Simulated Music cycle, as well as the large-scale sculptural elementalism heard in the Ceiling stared at me but i beheld only the Stars and ‘Icon’, the central panel in Triptych, May/July 2009. But above all, Dither, Pother and Roil explore (for me) new methods and an expanded mode of expression.

Dither was finished first, and is concerned primarily with material that writhes and roars at its own prevarication. Here’s part II:

Pother continues the thread established in Dither, becoming increasingly fraught and portentous. This is part I:

Roil was the last to be completed, and is the longest and most complex of the three. A multi-layered noisescape, Roil is by far the most unrestrained piece i have ever composed, whipping up elements of Dither and Pother into a clamorous torrent of frenzied outrage. Here’s part IV:

The accompanying artwork explores details from a recent painting by the young American artist Claire Uhle. Titled ‘Well, everything’s moving so slow in this life time.’, the painting goes a long way to capturing everything that Dither, Pother and Roil are seeking to convey (click for high-res).

The CD comes out on 20 November in a numbered limited edition of 50 copies. For more information and to order a copy, click here. A digital download version will also be available.

In other news, my previous CD Night Liminal is now available as a digital download as well. There are also a few CDs left; details about both can be found here and here.

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New CD out today – Night Liminal

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i’m delighted to announce that today sees the release of my latest CD, Night Liminal. Here’s a bit of blurb from the spiel:

For the last four years, my electronic music has been to a large extent founded upon noise. Whether sculpting large, primordial shapes from it (Triptych, May/July 2009), pitting it against pitched material (the Ceiling stared at me but i beheld only the Stars) or allowing it to do its own thing (Simulated Music), noise has been the principal vehicle for my electronic music. Even in my most gentle work (The Stuff of Memories), noise has been present, colouring and caking the music in sonic detritus.

Night Liminal is different. Lasting a little under forty minutes, the work is a stark contrast to these intense noisescapes, signalling both a return to and a reclamation of my æsthetic roots, embracing the quietude of ambient music. For the first time, the material is gentle, soft-edged and peaceful—even relaxing. That, at least, is its first impression; but the work’s inspiration is more subtle and ambivalent than that. Night Liminal is partly inspired by the ancient monastic service of Compline, which takes place as day is ending. Both the service and its setting confront head-on the perils heralded by twilight.

Being in a sacred space at dusk is a profound and paradoxical experience, comforting yet unsettling. One is caught between light and darkness, between the vast expanse of tradition and the contemporary mystery of the moment. The night can be a dangerous and uncharted place; my hope is that this music can become an integral part of the gloaming, teasing out and resonating with both its delights and its uncertainties in a gentle act of provocation and peace.

Provocation may seem incongruous in the context of ambient music, but Night Liminal’s soft, slow-moving textures echo this; warm and melodic, sometimes dark and disquieting, they afford the listener a dual experience of rest and reflection.

Night Liminal is dedicated to the memory of Jehan Alain.

As usual, the CD is a limited edition of 50 numbered copies; to order a copy, go here.

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In memoriam

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Today is the anniversary of the death of my father, Richard Peter Weston Cummings. Over the years, i’ve composed several pieces that explore the range of feelings and memories associated with his passing, the most recent of which was my electronic work Triptych, May/July 2009, released on CD a few years ago. The piece was in part created using a photograph of my father (used on the CD artwork), which was manipulated and converted into sound in various ways to create the basic material from which the three movements were made. Musician and composer Danielle Baquet-Long, with whom i’d only just made contact, died suddenly while i was composing the work, so the Triptych is dedicated to her memory.

There are still some copies of the CD remaining, so to mark today, i’ve dropped the price significantly – just £2.50 for the CD (including UK shipping; slightly more for overseas) and a mere 50p for the digital download. For the CD go here, or for the download, here.

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Apologies; and forthcoming

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Apologies, one and all, for the lengthy hiatus here on 5:4. In a break with convention, i’ve been finishing off two or three new compositions and then—entirely in keeping with recent convention—fighting off a rather stubborn virus. Before service resumes properly, then, let me flag up a couple of performances of these new pieces that are happening next month, both at the Birmingham Conservatoire.

The first is nolite facere dicunt enim, a work for 12 voices written for the vocal group Icarus, based at the Conservatoire. The group, which changes membership each year, is the brainchild of Chi Hoe Mak, one of the most wonderfully effervescent conductors i’ve ever met. It’s not a piece i want to say anything about at this stage, but you can take a look at the full score below. The first performance will be taking place on Wednesday 6 June; the concert starts at 7.30pm and tickets (undoubtedly very cheap) will be available on the door. Do come along and be shocked, appalled, enriched and/or entertained by it if you can.

EDIT: Due to a variety of unfortunate circumstances, this performance has been postponed.

Second is a work for voice and five players called the octave of the grief of the clone that leapt to the remainder of night sky; that title is taken from the writings of one of my ongoing inspirations, Kenji Siratori, as is the sung text, which uses Siratori’s poem Foolish/Moon. It’s not possible to show a score for this piece, as there isn’t one; the five players—clarinet, bassoon, viola, double bass and guitar—are all independent of each other and of the vocalist, although a couple of the players interact and affect the ensemble in different ways. This piece was written for the soprano Ruth Hopkins, who will be performing the piece with members of the ensemble Thumb, also based at the Conservatoire. The concert is on Monday 11 June, starting at 8pm; there may be a performance in Camden later in the year, but more about that as and when. Again, if you’re in the area, do come along.

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Mixtape #21 : Noise

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With noise is born disorder […] In noise can be read the codes of life, the relations among men. Clamor, Melody, Dissonance, Harmony […] when it becomes sound, noise is the source of purpose and power, of the dream—Music.

Stirring words from the opening chapter of Jacques Attali’s marvellous book Noise: The Political Economy of Music, and noise is the focus of the new 5:4 mixtape. As such, i suppose it could be deemed the least accessible of these mixes, although my interpretation of noise here extends beyond fortissimo walls of abrasion; there’s a lot more to noise than just that.

Three of Alva Noto‘s miniature renderings of computer files pepper the mix, blurring the distinction between active and passive compositional intent. To some extent, the same could be said of Richard James’ AFX track ‘Ktpa2’, one of a pair of ferocious static blasts that remain his most brutal music to date. Most of the tracks included here, though, are less single-minded than these, and drag a variety of æsthetic manners into their obstreperous orbits. Three Trapped Tigers (whose first album is one of this year’s most outstanding releases) explore a complex amalgam of math rock and glitch, while Ukranian soundscapists First Human Ferro put noise at the core of their paradoxically radiant dark ambient. Japanese experimentalist Lethe takes hard metallic field recordings in abandoned resonant spaces as his starting point, while Nine Inch Nails do what they do best tucked away deep in the bowels of a studio. Noise is a sine qua non of all music with a hauntological aspect, heard here in the hissy nostalgia of Black Swan and the searing, gritty glitter of The Stranger (in my view, Leyland Kirby’s most riveting persona). My own work the Ceiling stared at me but i beheld only the Stars is a large-scale conflict between noise and pitched material; the excerpt included here is from the centre of the piece, where bell-like pitches first emerge. One could hardly have a noise mixtape without Merzbow; i’ve included part of the opening track from one of his latest albums, a typically kaleidoscopic feast of electronic mayhem. At the end comes a fittingly curt signing-off by Thomas Bangalter, from his soundtrack to Gaspar Noé’s film Irréversible. Read more

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New digital EP: Simulated Music – postscript

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i’ve released today a new EP of electronic music, titled Simulated Music – postscript. As that name suggests, the EP contains material related to my album Simulated Music, released a few months ago. Here’s an excerpt from the blurb:

Simulated Music, released in June 2011, was a cycle of music created at speed. As i wrote at the time, “critical decisions … were made with a minimum of deliberation. Once they were decided, i worked quickly, not concerning myself much with minutiæ, thinking instead about the broader, gestural shape of the music as a whole”. Nonetheless, the process that led to each ‘Simulation’, while relatively brief, contained a considerable amount of experimentation, as it was worked into its final form. On several occasions, i produced more than one version of a piece, uncertain of which i preferred; only when finally assembling Simulated Music did it become clear which versions of the pieces should be used. This EP contains nearly all of the alternate versions.

As with my earlier EPs, Simulated Music – postscript is only available as a free digital download, via my Bandcamp site.

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New CD: Simulated Music – out today!

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Simulated Music is my new CD, released today, Sunday 12 June 2011.

The piece marks something of a departure from my previous electronic music. In Simulated Music, i have allowed the sound materials much more freedom to ‘do their own thing’, leaving them to unfold with minimal intervention. Both in duration and content, the nine ‘Simulations’ heard on the album are a diverse collection, encompassing large-scale, thundering noisescapes and soft, intimate whispers, wide clusters and narrow drones, piercing high pitches and powerful deep bass surges. Ever shifting and transforming, they are together suggestive of the worlds of noise, drone and ambient, yet stand apart from them all, occupying an abstract sonic space that is strange yet beguiling.

Simulated Music is dedicated to the memory of the great Roland Kayn, who died in January of this year.

The album is a limited edition of 50 numbered copies. For more details, to hear excerpts and to order a copy, go here.

There’s also a brief article about Simulated Music on Tim Rutherford-Johnson’s contemporary music blog The Rambler, here.

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Interrobang – works by Elliott Carter, Paul Dolden, Javier Álvarez & more

Posted on by 5:4 in Announcements, Concerts | 2 Comments

Anyone in the Birmingham area tomorrow night (Monday 13th) might be interested in the next concert my ensemble, Interrobang, is giving. The concert will feature a number of works by established composers, intermingled with four pieces by students and graduates of the Birmingham Conservatoire (where Interrobang is based). It includes a new work of my own, composed for BCMG at the end of the last year and explored in a workshop with them in the spring, but not yet performed in public. Here’s the programme:

Etelka Nyilasi – Visions in the Northern Sky for 6 players
Simon Cummings – Intense quick dream of sentimental groups with people of all possible characters amidst all possible appearances for string sextet (World Première)
Ryan Latimer – The Canon of Medicine for piano trio (World Première)
Elliott Carter – Scrivo in Vento for solo flute
Paul Dolden – In a Bed Where the Moon was Sweating. Resonance #1 for clarinet & tape (UK Première)
Veleka Algar – From Silence for string sextet (World Première)
Javier Álvarez – Temazcal for maracas & tape

The concert starts at 7.30pm and once again takes place in the Conservatoire’s Recital Hall. A map is below; those with GPS should punch in the postcode B3 3HG. If any 5:4 readers are present, do make yourselves known to me during the interval or afterward—would be great to see you!


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New Dead Pilots piano mix

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Dan Gregory, who runs the splendid label Dead Pilot Records, has been kind enough to include my little piano piece In Paradisum on his latest online mix. While i don’t know most of the other names included in the mix, it’s nice to be in the company of Daniel W J McKenzie, better known by his pseudonym, Ekca Liena.

“Piano Series #3” can be streamed via MixCloud, here

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New digital release: at the magical hour when is becomes if / desert-tide

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The sonic poles of noise and pitched material are heard in delicate vein on my own new digital EP, which presents two works composed in June 2010. The shorter of the two, desert-tide, takes a gentle journey through a small, noise-based landscape. By contrast, at the magical hour when is becomes if focuses entirely on pitches, juxtaposing them in clouds and clusters ever in flux, drifting, dissipating and coalescing within a relatively narrow sonic space.

The EP is released at midnight on 2 October 2010, available only as a free digital download, through my own label Interrobang. It can be downloaded in a wide variety of formats from my Bandcamp site, here. Included with the download is a high-resolution PDF digital booklet, as well as a special offer to purchase both my CD releases at two for the price of one – an offer not to be missed!

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Mixtape #17 : Lay the Voice to Rest, Dear Mist (In Memoriam Danielle Baquet-Long)

Posted on by 5:4 in Anniversaries, Mixtapes | 2 Comments

How quickly a year passes. On this day, 12 months ago, Danielle Baquet-Long died, bringing to an abrupt end the remarkable musical project that she and husband Will had crafted together for several years. Of course, music, like life, goes on regardless, and the prospect of plenty more releases yet to come from both Celer and Chubby Wolf (Dani’s solo project) continues to be an exciting one.

To mark today’s sad anniversary, the new 5:4 mixtape is in Dani’s memory, bringing together a diverse selection of music that broadly falls into the ‘ambient drone’ category. Drone has entranced me since i was pretty young; in the right hands, it has a quality that always seems familiar, yet somehow achingly inscrutable and difficult to define; close and intimate, yet also impossibly distant. But this kind of music (and certainly on an occasion such as this) is perhaps best not written about in too much detail; suffice it to say the examples here range from vast, dazzling textures that seemingly envelop everything in sight to gentle half-heard whispers. Of course, Dani’s own music is included, the final (very brief) example of which gives the mixtape its name.

In total, two and a half hours of music to commemorate the life of one of ambient’s more insightful and imaginative figures. The complete playlist is as follows: Read more

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New digital release: the Ceiling stared at me but i beheld only the Stars

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Out today is my new release, a 32-minute electronic work, the Ceiling stared at me but i beheld only the Stars. The piece takes as its starting point the intricate stonework found on the ceiling of the Quire in Tewkesbury Abbey. The central idea explored in the work is encapsulated in this quotation from George Herbert’s The Elixer:

A man that looks on glasse,
On it may stay his eye;
Or if he pleaseth, through it passe,
And then the heav’n espie.

More specifically, the piece is concerned with notions of imposed restriction (the ‘ceiling’ of the title), with the concomitant spiritual reaction to—and transcendence beyond—such blind barriers. This is heard most prominently in the work’s fundamental conflict between two types of material, one noise-based, the other pitched and bell-like.

the Ceiling stared at me but i beheld only the Stars is dedicated to Michael Perry Goodman, perhaps better known to readers of 5:4 as Implex Grace.

This release is only available in the form of a free digital download, in a variety of audio formats; to download, please visit simoncummings.bandcamp.com. Due to the extreme frequency range used in the piece, lossless (FLAC/Apple Lossless) is VERY strongly recommended. Download includes high-resolution artwork, PDF digital booklet and selection of desktop wallpapers.

An ultra-high resolution version will be available soon.

Copies of my first two CDs, Triptych, May/July 2009 and The Stuff of Memories are still available; for information, to hear excerpts and to order a copy, please visit www.simoncummings.com/shop. Both of these can also now be purchased as digital downloads from the Bandcamp site.

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Interrobang – works by Ryoji Ikeda, Simon Cummings/Charles Tournemire and Steve Peters

Posted on by 5:4 in Concerts, Premières | 1 Comment

Regular readers of 5:4 will know of my interest in the music of both Ryoji Ikeda and Steve Peters. Later this week i have the privilege of directing works by both of these composers, at the next concert given by my ensemble, Interrobang.

In the first half, we’ll be presenting the UK première of Ryoji Ikeda‘s gorgeous Op. 1, one of his only works for instrumental forces (alongside Op. 2 and Op. 3, also for strings). Op. 1 has been played by Ensemble Modern, but doesn’t seem to have been taken up by other groups, which seems strange considering how lovely it is. Also in the first half will be the first performance of my own L’Ensemble Mystique (Book One), a suite of arrangements of music by Charles Tournemire, for chamber orchestra. Tournemire’s music is all based on plainsong, and the original chants will also be sung at the concert, putting my arrangements into context. The second half is entirely given over to the UK première of Steve PetersThe Webster Cycles, the CD of which came almost top in my Best EPs of 2008. It’s a mesmerising piece that takes words from the Webster Dictionary and turns them into abstract melodic fragments, which overlap each other in aleatoric fashion.

The concert takes place at 7.30pm on Thursday 6 May, in the Recital Hall of Birmingham Conservatoire. There will also be a repeat performance of The Webster Cycles the following day at St Martin’s in the Bullring, starting at 12.30pm. It would be great to see any readers of 5:4 at these concerts—do make yourselves known if you’re there!

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