This mixtape recipe is not just a collection of songs, but a collection of films with music, and the connection between the pieces is one of visual feel. Long gone are the days when a music video was strictly a promotional accompaniment to a new single release. A growing array of film makers choose existing musical material as a stimulus for creating loosely related short pieces of visual art. Other projects emerge in which film-making and music-making are parts of a larger artistic project, each carrying its own weight. In many cases the resulting film has little to do with showcasing a band or titillating with cavorting divas; the focus is rather on exploring another dimension of the aesthetics of a piece of music. Below are three recent videos that are worth a look and that share a common wintry palette and a certain captivating forlornness.
Pjusk – Sus Pjusk are a Norwegian electronic duo who specialize in tense, icy soundscapes and have a new album due March 12 on the Glacial Movements label. A song from their 2010 album Sval was recently made the subject of a short film by Till Nowak, a German digital artist. The video works with snowy aerial footage of the Nordic landscape that indwells Pjusk’s music, but springs some visual surprises, taking things off-kilter enough to match the track’s uneasy ambience.
International Record Review Outstanding Recordings, February 2012
“Music for a Time of War” – Adams: The Wound Dresser; Britten: Sinfonia da Requiem; Ives: The Unanswered Question; Vaughan Williams: Symphony no.4. Oregon Symphony/Carlos Kalmar. PentaTone PTC5186 393
“a compelling and inspired example of intelligent programme planning… remarkable performances” – Nigel Simeone
Britten: Violin concerto; Double concerto; Lachrymae.Anthony Marwood (vn); Lawrence Power (va); BBC Scottish Symphony Orchestra/Ilan Volkov. Hyperion CDA67801
“performances which it would be difficult to imagine could be improved upon… For me, the greatest revelation on this disc is the Double Concerto… the performance on this disc by Marwood and Lawrence Power reveals it to be an astonishing achievement as a work of art on several levels” – Robert Matthew-Walker
Kinsella: Symphonies nos.6 & 7; Prelude and Toccata for strings; Cúchulainn and Ferdia – Duel at the Ford.RTÉ National Symphony Orchestra/Proinnsias Ó Duinn, Gavin Maloney. RTÉ Lyric FM CD134
“It’s rare to find a composer who manages to encapsulate both Apollonian spontaneity and Dionysian drama, but John Kinsella, born in Dublin in 1932, is one such: his orchestral writing has an appealing freshness, and yet there’s no sense that the music is dodging the larger issues that the symphonic form is wont to address. … This is, in short, a knock-out CD that deserves your swift attention” – Martin Anderson
When approaching Gareth Dickson’s new record it seems almost obligatory to dwell for a moment on the fact that it is released on 12k records, a label that does not usually deal with music that has lyrics, let alone releases by singer-songwriters. Dickson has toured extensively as a guitarist with folk singer Vashti Bunyan. His own music combines acoustic guitar finger-picking with an attention to atmosphere, resulting in what one might call ambient folk songs. (You can stream one of his previous albums, the lovely Collected Recordings, here.) Quite a Way Away is certainly something new enough in 12k terms to catch the eye, but it is less of a radical break than it might seem. Listen to the acoustically oriented ambience of Illuha’s recent gem Shizuku, and its inclusion of the spoken word in the form of Japanese poetry, trace the gentle contours of Ballads of the Research Department by The Boats, which also included some singing, and focus on the gently plucked guitar of Kane Ikin’s Contrail (review here), and it will be clear that while Quite a Way Away is something of a shift of genre for 12k, it has a great deal in common with its immediate predecessors in terms of aesthetic. All share a careful hush, a gentle attentiveness to delicate, small, mostly acoustic sounds. Listening back over these releases brought to mind a haiku that appeared on the sleeve of Tetsu Inoue and Carl Stone’s 2001 collaboration pict.soul on the Cycling ’74 label:
The soft breeze that stirs
this vast undulating field
deafens the spider.
Those lines capture for me 12k’s approach to music, music made for the spider rather than for the stadium, inviting the listener to find expansive worlds of sound in the rustle of a soft breeze through grass.
This is part of a series suggesting ingredients for mixtapes or playlists on a variety of themes.
Whether you have a special someone to be your valentine this year or not, we’ve got you covered with this genre hopping “two-fer” mixtape of old and new songs ranging from easy listening to rock, pop, R&B, and lesser known indie singer-songwriter folk stuff. Side A is just the thing for happy couples to play while celebrating Valentine’s Day with a romantic evening alone – or, if the love affair’s over, flip it to Side B and let the music keep you company this Valentine’s Day. Either way, it’s a night spent with some great music.
Links to artist websites are provided for each track – a good way to learn more about the artists or to catch up on their latest news. Many of them are working on new recording projects for 2012.
When Irish troubadour Declan O’Rourke wrote this song, he thought no one would want to hear it. But he liked it and says he only finished it because he thought his family might enjoy it. He was more than a little surprised when he learned Josh Groban picked it up for inclusion on one of his albums – and a little sad to say goodbye to “his little song.” Since then, it has been covered by numerous artists and is destined to become a romantic standard.
Mezzo-soprano Joyce DiDonato’s aria collection “Diva Divo” is the best-reviewed classical album of the year. How can anyone make such an apparently definitive claim? Well, one way – which is the way I did it and therefore for the purposes of this article is the way – is to gather together all the reviews of all the past year’s albums that have been published in the major classical CD review magazines, combine them with reviews posted online, assign a score to each review, perform some calculations, and produce an average review score for each album. It’s the sort of thing Metacritic does, only applied to classical recordings. 2011 marks the fifth year I have been doing this and, because when I first started it I was running a site called Nereffid’s Guide, the results go under the moniker of the Nereffid’s Guide Awards. The year’s releases (because the world of classical reviews is sometimes slow-moving, “the year” covers August 2010 through July 2011) are divided into 16 categories. And here are the winners, the best-reviewed albums in each category:
I was never more surprised than when I saw the self-titled album Burlap to Cashmere on a recent list of Top 100 best albums of 2011. I knew this band. Discovered by an agent who heard them playing in a New Jersey coffeehouse, Burlap to Cashmere had independently released a live record in 1997 and the following year signed with A&M to release their major label debut, Is Anybody Out There? (an award-winning unconventional Christian music album). Within a few years, they had disappeared without a trace. They were a high-energy folk/rock band with a unique sound, thanks to the band’s talented songwriter and lead singer, Steven Delopoulos, and his cousin’s (John Philippidis) quick-fingering flamenco guitar riffs. That combination created their one-of-a-kind Mediterranean-influenced folk/rock sound of Greek rhythms and world beats that reflected their Christian Greek Orthodox heritage.
That was 13 years ago. Now an album bearing their name appears on a 2011 best albums list and I’m thinking it must be a re-issue or something. But, no. It is indeed a brand new album with 11 brand new songs. And it is creating quite a stir:
The other day I spent a while listening to a couple of free ambient netlabel releases that turned out to be just OK. Don’t get me wrong, there are many, many excellent free netlabel releases. These were just not two of them. They brought some interesting sounds together, but lost any sense of the space between them, ending up projecting a kind of mushy hum with various little noises floating stickily in the porridge as it gurgled thickly by. Returning after that listening foray to Kane Ikin’s new EP on 12k records was an exercise in contrasts. Anything that comes out on 12k is going to be painstakingly assembled and mastered, and this recording is no exception. It too works with stretched tones and assorted small sounds, but especially on headphones it opens them up into a delicate and spacious conversation.
On January 24, 2005, Minnesota Public Radio launched 89.3 The Current with the playing of Atmosphere’s hidden track off the Seven’s Travels album, “Shhh”. “Shhh” is an ode to Minnesota and being proud of where you’re from regardless of what others think of your hometown. It was an incredibly appropriate first track to air on a station who’s mission is to bring its listeners the best new local and national music alongside the music that inspired it.
There seems to have been a recent flurry of new creative partnerships between established solo artists working in the generous borderlands between neo-classical, electronic, and ambient music. In fairly quick succession we’ve been treated to lovely debuts from A Winged Victory for the Sullen (Adam Wiltzie and Dustin O’Halloran) and Oliveray (Nils Frahm and Peter Broderick), with the first Orcas release (Benoît Pioulard and Rafael Anton Irisarri) on the horizon. Now add to that list Aaron Martin and Dag Rosenqvist (who has most commonly recorded as Jasper TX). Their debut album as From the Mouth of the Sun is to be released at the end of January on Experimedia, and is recommended listening.
Underneath the Stars, the engaging new release from Tom Honey’s Good Weather for an Airstrike project, is immediately pleasing to the ear even as it perhaps takes some risks with its image. The release notes remind us that Honey began recording in connection with his aim of relieving his own tinnitus, and the tone of the new album is consistently soothing and almost entirely free of dissonance. The Goldberg Variations notwithstanding, if music was composed for therapeutic purposes it’s easy to wonder if it will also succeed as art. Add to that an ambient concept album based around the phases of sleep and including field recordings of gentle rain and thunder, and casual associations with faceless New Age collections of nature sounds and insomnia aids rather than serious listening might be forgiven. The fact that the album is released on the estimable Hibernate label, however, is considerable cause for optimism, and indeed there is more here than might first meet the eye (or ear). You can stream it below as you read.