Simon Cummings

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

Posted on by 5:4 in Anniversaries, Mix Tapes | 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 mix tape 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 | Leave a 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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Mix Tape #15 : Late Night

Posted on by 5:4 in Mix Tapes | 2 Comments

It’s been a while since the last mix tape, and i’ve decided to return to the theme of the the first two mixes, music particularly suitable for late night listening.

Steve Peters‘ work is always fascinating, and his field recording project Here-ings is a masterpiece. i wrote about it at length early last year, and its profound sense of hush, allowing the space and its environment to speak, is unparalleled, and a fitting way to start this sonic foray into the night. Lovesliescrushing have dominated my listening in 2010; their lavish 2CD box-set Girl. Echo. Suns. Veils. arrived a few weeks back, and earlier this week Crwth (Chorus Redux) arrived. As the title suggests, it’s a retake of Chorus, their superb classic from 2007, as laden with velvet gentleness as the original (the CD comes with a voucher to download the original free of charge, so you get the best of both worlds). Ambrose Field‘s Being Dufay was one of my best albums of 2009, and the whole release is arguably best heard at night, when everything else is still; this is especially true of “Sanctus”, which emerges from the solo voice into some breathtakingly beautiful textures. sc140 was a project in conjunction with The Wire magazine, where composers wrote short snippets of Super Collider code, no longer than the length of a tweet (140 characters). The result is a mixed success but Nathaniel Virgo‘s contributions are invariably engaging; the pink noise in this track, punctuated by deep booms takes on the transparency of a field recording, all rain and thunder. Read more

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New CD: The Stuff of Memories

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My new CD, The Stuff of Memories, will be released at the end of this week; it comprises two electronic works made during the summer of 2009. Both address a related aspect to that explored on my previous CD, Triptych, May/July 2009; while that piece focussed on the (perforce flawed) act of remembrance, the present works are directly concerned with the fabric of the memories themselves.

Ostensibly simple pieces, they each take their starting point from existing musical material (other works of mine), which has then been worked on extensively, worn and worried into its final forms. The emphasis, though, is very much on what remains, a celebration of the joy and fragility of the surviving original material, its voice continuing to sing through layers of damage and erosion.

The first piece, Memories are made of this, is dedicated to the Somerset artist Pat Clayton. The piece was in part inspired by her beautifully elaborate artworks, purposely aged and dirtied objects (often books and boxes); simultaneously naturalistic and artificial, they resemble items of flotsam washed up on a beach, waterlogged and etched with sand.

The second piece, becauseshewas (veteris vestigia flammæ) is dedicated to Will Long, of the duo Celer, whose experimental ambient creations readers of 5:4 will know i greatly admire. The title is a reference both to the circumstances pertaining to the original underlying material, as well as to Will’s wife Dani, who passed away in July 2009. The Latin quotation is from the account of Dido and Aeneas in Virgil’s Aeneid; it translates as “the traces of an old fire”, but i prefer John Dryden’s more poetic rendering: “the sparkles of my former flame”.

This release is a limited edition of 50 numbered copies. The price, including shipping, is:

UK – £10.50 | Europe – £11 | Worldwide – £12

For more information, to hear excerpts and to order a copy, go here.

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Mix Tape #12 : Electronics

Posted on by 5:4 in Mix Tapes | 1 Comment

Back, not so much with a vengeance as a new mix tape; the theme this time is simply electronics. Many of the pieces are rather long, so this mix, more than the others, features excerpts rather than complete works.

The mix opens with one of the most exciting electronic works by the duo FURT. Taking Brahms as its starting point, “Rigor” immediately slows, seemingly descending closer and closer upon its surface, the ensuing music seemingly scrutinising the Brahms material at the microscopic level. i was fortunate enough to witness this piece performed live (at the ICA, back in the mid ’90s), and it was thrilling, a truly memorable experience. The complete work can be downloaded free from FURT’s website; link below. “fol4” is Autechre‘s expanded version of “Fol3”, found on the limited double edition of Quaristice. It’s just as mercurial as its sibling, darting between the speakers with nervous, frenetic energy, from which assorted rhythmic patterns obtrude. A brief interruption comes in the form of Alva Noto’s “fontlab4.0”, one of his assorted miniature slews of (presumably) raw data from his superb album Unitxt. i’ve been interested in Ambrose Field‘s work since i heard him give a talk at Birmingham University about 15 years ago; he has a unique and fascinating approach both to sound itself as well as to its relationship to the listener. Included here is an episode from his splendid electroacoustic work Expanse Hotel, “Orient Express”. Next a work taken from an ancient off-air radio recording lurking in my archives, a work titled “Augustine’s Message” by the Welsh composer Robert Mackay. i’ve not heard anything else by Mackay, and sadly this piece doesn’t appear to be available on any releases, but i’ve been able to clean up the recording very well, and it nicely demonstrates the composer’s joint interest in music and drama. Despite its brevity, “Augustine’s Message” is an intense, beguiling listen. Then a lengthy excerpt from one of my very favourite composers, Roland Kayn. Kayn’s electronic works are nothing short of amazing, spanning vast durations with equally vast slabs of sound, slabs that are constantly re-shaping themselves. To my knowledge, few of Kayn’s works have been reissued on CD (the main exception being Tektra), but most of his vinyl releases can be found in high quality rips on the web (particularly here). Included here is a portion from the first part of his 1979 cycle Infra, “Isotrope”. Also conceived on a large scale is Pan Sonic‘s album Kesto (234.48:4), encapsulated in its 61-minute final track, “Säteily (Radiation)”. The excerpt here demonstrates the track’s beautifully radiant, shining character. Read more

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New CD: Triptych, May/July 2009

Posted on by 5:4 in CD/Digital releases, i | 2 Comments

Posts have been somewhat less frequent through the last two or three months; but these hands have been far from idle. i’m very happy to announce that my first CD will be released at the end of August, containing a new electronic work, Triptych, May/July 2009. Lasting 25 minutes, the work is an expressionistic electronic study concerned with the nature (and fallibility) of remembrance. Taking its starting point from an image of my late father (seen on the cover artwork), the work’s three panels explore different, but related, sound-worlds.

The first, Figment, occupies a deep, narrow frequency field, from which a mysterious and somewhat inscrutable music emerges, its material at times quite difficult to make out. Longest and loudest of the three, the central panel, Icon, continually shifts and evolves, its richly glittering noise forming ever new shapes and resonances, punctuated by fragments of melody. The work concludes with Vestige, where soft, distant flute-like tones sing out into the darkness.

The Triptych is dedicated to the memory of Danielle Baquet-Long, about whom i wrote recently; one half of Celer, who passed away suddenly last month.

This release is limited to 100 numbered copies. The price, including shipping, is:

UK – £5 | Europe – £5.50 | Worldwide – £6

To order a copy, go here, where you can also hear a brief excerpt from each part.

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