Steve Peters

Mixtape #45 : Birds

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At the start of May each year, i always find myself thinking about birds, as the first Sunday of the month is marked globally as International Dawn Chorus Day, something i celebrated in a podcast back in 2010. So the theme for this month’s mixtape is of an avian persuasion – not actually focusing on actual birdsong (some of which were featured in last month’s Spring mixtape) but on music that in some way either references, alludes to or simply takes its name from birds. It’s a typically eclectic mixture, encompassing playfulness (The Real Tuesday Weld, Venetian Snares, Clark, Secret Chiefs 3, Broadcast, Tangerine Dream, Patrick Wolf, Neil Richardson), elegance (Chubby Wolf, Tōru Takemitsu, Aidan Baker, Simon Goff & Thor Harris, Dita Von Teese, Robin Guthrie, Deerhoof, Bernat Vivancos), gritty noir (Gorau Glas, Christopher McFall, Tout Croche, Angelo Badalamenti & David Lynch, James Newton Howard, The Kilimanjaro Darkjazz Ensemble), experimental (Akita / Gustafsson / O’Rourke, Jan Jelinek) along with tracks that are either imitative or almost entirely transparent (Åke Parmerud, Chris Watson, Steve Peters, Douglas Quin – whose music punctuates the mix at 30-minute intervals).

90 minutes of feather-strewn blasts and murmurations; here’s the tracklisting in full, together with links (where possible) to obtain the music. As always, the mixtape can be downloaded or streamed via MixCloud. Read more

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Mixtape #33 : Purple

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For the new 5:4 mixtape i’ve rather whimsically adopted my favourite colour—purple—as the theme. That colour invites a host of hues and shades, so the mix includes track titles alluding to the entirety of that part of the spectrum, including heliotrope, lavender, fuchsia, pink, plum, magenta, indigo, amethyst, violet and even ultraviolet. Such an oblique connection has enabled me to unleash a more-than-usually eclectic selection, taking in piano works (Ramon Humet, Luke Stoneham, George Crumb, David Rakowski), synthpop (John Foxx & Louis Gordon, Frida Sundemo), ambient (Peter Wright, Specta Ciera, Frond, Saturday IndexDick Mills, The Denisovans, Tor LundvallDarren Harper), rock – electronic, math and (ir)regular (Nine Inch Nails, Frank Zappa, Sleeping People), easy listening (Enoch Light), electronica (World’s End Girlfriend, Time Attendant, Bauri, The Flashbulb, Labyrinth Ear, Da Wei), avant garde classical (Chiyoko Szlavnics, Aaron Cassidy), folk (Steve Peters), indie pop (StopTalk, The William Blakes), fusion (David Murphy), drum and bass (Tim Exile) and noise (K2). Read more

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Mixtape #28 : Speech

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For the last mixtape of 2013, i’ve decided to explore music in which speech is paramount. Within a musical context, spoken words can jar in much the same way as an actor breaking the fourth wall, unsettling us by (ostensibly at least) withholding abstraction in favour of direct reference. The range of pieces included in the mix is more eclectic than usual, drawing on offcuts, afterthoughts and outtakes (Hecq, Frankie Goes to Hollywood, Kreng, Aphex Twin), filtered renderings, recreations and re-imaginings of speech (Cabaret Voltaire, Charles Dodge, John Hudak, Gregory Whitehead, Marc Behrens, Jean-Michel Jarre) as well as forms of non-singing (AGF and the peerless William Shatner). But most of the tracks exploit the spoken word through fascinating essays in obscure narrative, by turns sinister (Eugene S. Robinson), prosaic (Jóhann Jóhannsson, Anne-James Chaton), sexual (Andrew Liles), wistful (Steve Peters), intimate (Edward Ka-Spel), surreal (Olga Neuwirth, irr. app. (ext.)), poetic (John Wall/Alex Rodgers), combative (Frank Zappa) and philosophical (Adrian Moore).

A little over two hours of speech-inspired music and sound art; here’s the tracklisting in full: Read more

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Interrobang: Steve Peters – The Webster Cycles

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Two months ago, i reported that my ensemble, Interrobang, was to perform Steve Peters‘ remarkable ambient work, The Webster Cycles. It’s a work that’s entranced me since 2008, when it was released on CD, more than 25 years after its original composition date. It gets its name from the fact that the musical material originates in the Webster dictionary; Peters has taken all words that include just the letters A to G (being musical notes), arranged them in alphabetical order, and given them to players as a musical score. The words are grouped into seven columns, according to their first letter, and the result looks like this (click to see full-size):
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Interrobang – works by Ryoji Ikeda, Simon Cummings/Charles Tournemire and Steve Peters

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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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Mixtape #15 : Late Night

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It’s been a while since the last mixtape, 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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Best EPs of 2009

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As December draws to a close, it’s time once again to cast our collective eye back over the last 12 months. Before we get to the highlights, it’s only fair to say that 2009 has been filled with more than its fare share of disappointments. Kraftwerk finally succeeded in releasing The Catalogue, the “re-mastered” versions of their output, although success is hardly the word for a project that managed to inflict so much bombast on the music, bludgeoning it into the 21st century; only a few of the albums came through unscathed. Dangermouse and Sparklehorse managed to distract attention away from how genuinely awful was their album Dark Night of the Soul by whipping up a frenzy about that great über-menace the Corporate Record Label; for once, a label did listeners a favour, consigning this vacuous lame duck to peer-to-peer oblivion. A-ha attempted a revivification of their image, returning to ’80s synths, but in a context so compressed as to be almost impossible to listen to; Foot Of The Mountain must take the award for the most horrifically over-compressed album in recent times, although the fact it only has a single good song (“The Bandstand”) lessens the blow somewhat. Muse got delusions of orchestration, turning their quirky and usually impressive ideas into something damp and actually rather camp; The Resistance was hardly the best name for such a lacklustre album. Even the powerhouse that is Lydia Lunch seems to have lost her way, Big Sexy Noise only living up to the last of those epithets, and not in a good way. And one of the best songwriters of them all, Neil Hannon, rested firmly on his laurels with The Duckworth Lewis Method, his tongue so far into his cheek that it must be causing facial damage. It’s a shame that Hannon so often resorts to comedy and pastiche (forever lurking audibly in the wings of his Divine Comedy output); album highlight “The Age of Revolution” proves what the project might have been capable of, while “Jiggery Pokery” is absolutely horrific. But for me, the worst album of 2009 was a tie; Joe Goddard proved he’s simply rubbish both in and out of Hot Chip, his first effort, Harvest Festival, among the most dreadful experiences i’ve had this year. And what exactly led Tori Amos, one of the most interesting singer-songwriters of the last decade, to release the monstrosity that is Midwinter Graces? it is, literally, shockingly bad.

But let’s turn away from such infernal offerings, and move in a more paradisical direction. Thankfully, 2009 has also been filled with an abundance of excellent releases, and that’s where our attention should be fixed, beginning with the best EPs of the year. Read more

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“a hush, almost sacred”: Steve Peters – Here-ings

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As will have been obvious from my two “Best of” posts at the end of last year (here and here), i’m very taken with the work of sound artist Steve Peters. i’ve been spending a lot of time with his work of late, and one release has particularly impressed me in all sorts of ways. Peters is clearly a composer with both an acutely sensitive ear as well as an innate sensibility to the contexts in which sound occurs; nowhere is this better illustrated than in Here-ings.

Subtitled ‘a sonic geohistory’, Here-ings takes the relatively unusual form of a book and CD, the former illuminating the contents of the latter through a combination of prose and poetry (also by Peters), plus photographs contributed by Margot Geist. Essentially, the project consisted of Steve Peters spending a great deal of time at a site in New Mexico called The Land, set aside for site-specific art that engages with the environment surrounding it. Feeling that he would prefer to let the place ‘speak for itself’ rather than asserting his own creative impulse, over the course of a year, Peters made a series of hour-long field recordings at The Land, each occupying a different hour of the day, totalling 24 hours of material. Furthermore, each hour was recorded at a different location within The Land, so his recordings succinctly capture the entirety of The Land, throughout a year, conflated into a day’s worth of sound. Read more

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Mixtape #9 : Best of 2008

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Today 5:4 is one year old, and to celebrate that—and continue the celebration of the best albums of last year, here’s a new mixtape, featuring tracks from each of those albums. Not surprisingly, it’s the most eclectic mix so far, and also the longest, just a few seconds shy of 3 hours. Start 2009 with the best of 2008—enjoy!

Here’s the tracklisting in full: Read more

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Best Albums of 2008

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* Please note this list has how been superseded by the one on the Best Albums of the Years page *

It’s been difficult deciding what i feel are the best albums of 2008. Partly, because i’ve listened to so many (of the 667 albums i’ve listened to this year, 141 of them were released in 2008), but also because i’m conscious of a number of albums that i haven’t yet listened to, and which could well appear in this list. Anyhow, all lists of this kind are provisional, so as things stand today, here are the 5:4 Best Albums of 2008:

40 | Squarepusher – Just A Souvenir
On the one hand, this album isn’t as successful as Squarepusher’s last and best album, Hello Everything. On the other hand, Tom Jenkinson is just so talented that even failed experiments like this are better than most. Quite what led him to resurrect 70s electronics and seek to incorporate it into his style is anyone’s guess, but he’s hardly alone in doing so. At times it’s downright annoying, and overall there’s a diminished sense of unity across the album; yet tracks like “Tensor in Green” and “Quadrature” are brilliant demonstrations of the kind of synthesis of which Jenkinson is capable.

39 | Nurse With Wound – Huffin’ Rag Blues
NWW have turned down the absurdism somewhat on this release, allowing the jazz inflections to come through unfettered. Nonetheless, there’s still sufficient surreal juxtaposition of material for this to be a superbly eclectic electroacoustic outing. “The Funktion of the Hairy Egg” is especially effective, and the outstanding track on this disc, which also features irr. app. (ext.)’s Matt Waldron and is mixed by Andrew Liles.

38 | Gregor Samsa – Rest
Another great album from this band, who are able to sound simultaneously languorous and ecstatic. At times it’s a little too shoegaze for its own good, but most of the album is particularly effective, and sometimes strikingly delicate. The vocals, in particular, are often ethereal to the point of becoming inaudible, providing a wonderful mysterious surface beneath which the textures can drift and intermingle.

37 | Byetone – Death Of A Typographer
Despite being fairly typical Raster-Noton material, this album displays real variety, encompassing lovely ambient episodes along with the familiar glitchy electronica. There’s a markedly industrial tone to the beats, but they’re delivered with such panache that they never feel oppressive. It also lacks the coldness that seems to accompany, say, Alva Noto’s recent material (although, having said that, i really liked this year’s Unitxt, despite it not appearing in this list); this is surprisingly light and warm dance music.

36 | AGF – Words Are Missing
A rapid, insistent album, with Antye Greie’s voice (along with pretty much all other sounds) fragmented into a myriad shards. The constructions she makes from these pieces are consistently engaging, while not perhaps representing the best of her work; at times, the music are off-puttingly minimalistic. Nonetheless, the deep beats that permeate the tracks give them a potent physicality that is infectious; and, as in “Dread In Strangers Eyes”, influences of musique concrète and collage-like techniques give the album a fascinating variety.

35 | Ladytron – Velocifero
There are distinct traces of Curve in Ladytron’s latest release, which is most definitely no bad thing. This is particularly the case with “Runaway”, recently released as a single and easily the best track on the album. First and foremost, though, Ladytron have brought out their best album to date, filled with dirty, somewhat languid rock-tronica.

34 | Deerhoof – Offend Maggie
i wrote about this album back in October, and my initial disappointment about this album has, to some extent, given way to (i hope) a deeper appreciation. It still doesn’t quite capture the unbridled fire and passion of Friend Opportunity, but there’s a maturity present here that perhaps i wasn’t expecting. A flawed masterpiece it may be, but any group or album that can come up with a track as astonishing as “Jagged Fruit” is nothing less than brilliant.

33 | Stephan Mathieu – Radioland
A curious assemblage of thoughtful meditations, this is ambient from a more heavyweight perspective. At least, that’s the way it comes across, like vast heavy nimbus clouds, their complex inner structures ever shifting. The result is powerfully hypnotic, and often very beautiful, particularly “Auf der Gasse”.

32 | Implex Grace – Through Luminescent Passages II
i wrote a fair bit about this release back in November, so i won’t repeat that here. Since then Michael Goodman has made it clear to me that what i perceived as a lack of direction is something quite intentional on his part, and while i’m prepared to accept that, the brevity of the tracks, i feel, still militates against the kind of ‘meditative’ state he desires. All the same, it’s still an interesting counterpart to volume 1, focusing more on the noise end of the ambient continuum. It’s still available free of charge, here, in FLAC and mp3 formats, direct from Goodman’s netlabel, Distance Recordings.

31 | Ran Slavin – Nocturnal Rainbow Rising
Ran Slavin’s latest release is another free download, from the excellent Crónica netlabel. It’s a disc that demonstrates real skill at shaping sound, as well as formidable restraint, the tracks given space to develop at their own pace, never seeming forced along. Its use of bass frequencies to punctuate the material is very striking; “Pure Honey in Lack One” is perhaps the best example.

30 | Specta Ciera – Mystic Valley Parkway
Yet another free album, released through Distance Recordings, and available here. This is music reassuringly difficult to categorise, bringing together diverse sound sources into a melange within which they briefly become obvious before being re-absorbed. At times (“I Lost The Dream Archive”) it becomes really breathtaking, dazzling the ear with its restless activity. Read more

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Best EPs of 2008

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It’s been a fascinating year for music. And so, partly because i love making lists(!), here are the 5:4 Best EPs of 2008 (my top 40 albums will appear tomorrow):

10 | Belong – Colorloss Record
Creators of some of the most poignantly decayed music ever, Belong have excavated four more relics in this lovely EP. Whiffs of the source material hover just too far to be resolved, while chord progressions wistfully undulate somewhere far, far beneath. Quite how long they can continue in this direction is hard to say, but for now their originality in this kind of music is absolutely first-rate.

9 | Operator Please – Just A Song About Ping Pong
The best-known (but not the best) song by Operator Please, this EP (mentioned in my review a few months back) contains a superbly danced-up version of the title track: the Kissy Sell Out White Stallion Extended Remix. It, together with the original version, perfectly capture the wonderfully breathless quality of this band’s music.

8 | Operations – Cold Months
Beautifully packaged inside a piece of felt (photos of my copy can be seen here), sealed with a safety pin, Chris Anderson’s latest release is an introverted masterpiece. As suggested by the title, this comes across as ‘wintry’ music, conjuring up potent images of wistfulness and nostalgic yearning. The most outstanding example is the short central track, bearing the enigmatic title “( )”, where a fin de siecle gramophone record utters its last gasp of music, a rapturously beautiful fragment of clarinet and strings. It’s astoundingly lovely, and my favourite track from 2008.

7 | Ian D. Hawgood – Tents And Hills
The latest release from the interesting Luv Sound netlabel (free download available here), described by them as “a thick miasma of overtones and shifting colors”, which is a pretty fair assessment. Hawgood has a real gift for ambient, although for the most part the textures he creates are far too interesting to ignore—but that’s hardly a bad thing. All too brief, but very satisfying; opening track “October” is particularly good, its dreamy shimmering finally coalescing into rich octaves.

6 | irr. app. (ext.) – Enterruption Hermetic Archival Cassette Series 3
Just two tracks lasting barely a quarter of an hour, but this is Matt Waldron at his obtuse and recondite best. Not quite as glaringly surreal as his Aspiring to an Empty Gesture, also released this year, this is nonetheless a rich salmagundi, taking in a range of aural shapes that belies their brevity. A number of releases are supposedly forthcoming, so hopefully 2009 will be an exciting year for irr. app. (ext.). Read more

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