Trio Aristos

Mix Tape #41 : Best Albums of 2017

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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 mix tape 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 mix tape 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 1)

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i started last year’s Best Albums of the Year list  concerned about whether or not such lists were a good, viable or indeed practical idea. This year finds me with no such reservations: lists are fun, lists are informative and inspirational, lists are just cool, dammit, and above all this particular list – in spite of its unavoidably provisional nature – is a great way to celebrate the most implausibly wonderful sounds that have entered my ears during the last 12 months.

In compiling this list, standard 5:4 rules (which i don’t think i’ve ever shared) apply: a composer or artist can only appear once, and reissues or re-recordings aren’t allowed, so the 35th Anniversary expanded edition of John Williams’ score for E.T. the Extra-Terrestrial, Kraftwerk’s 3-D The Catalogue and Jasun Martz’s Solo Exhibition: The Pillory, all of which would otherwise have appeared in my top 40, have been excluded. Also – and this was an eleventh hour decision – i haven’t included Brian Eno’s Sisters; whereas it’s a truly outstanding example of modern ambient that lives up entirely to Eno’s original ethos while making it sound fresh and new (or, more accurately, demonstrating how it never stopped having the potential to be fresh), it wasn’t a widely available release, given away to a select number of people who had bought Eno’s Reflection app, and only for a limited time. One hopes Sisters might see a proper release at some point, as it really is stunning. So bearing in mind these personal peccadilloes, here’s the first part of my round up of the year’s 40 best albums.

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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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