MixTate is a series in which up-and-coming musical figures create sound mixes inspired by Tate works
MixTate: Kara-Lis Coverdale on Joan Miró
Montréal-based composer Kara-Lis Coverdale sees a story of engagement in Joan Miró’s etching
© Succession Miro/ADAGP, Paris and DACS, London 2017
I see a story of engagement in this Joan Miró work. I see a ‘person’, the moon, a star, and a leaf. Other things too. But all things are in relation to this one person, which occupies the most space in the composition. There is little sense of gravity in the work and things seem to float around in the square, creating a balance and order ruled by air. There is something wild about the painting that evokes joy, fear, and curiosity all at once. It also reminds me of a playground.
I often stay up late at night and walk through the forest alone in the middle of the evening, sometimes with a flashlight, depending on how bright the sky is. I’ve been doing this for many years. I’m sure I used to be frightened by unseen movement more easily. But now the dark is quite navigable, and sounds that were once terrifying for unknown reason I now recognise more sensitively as expressions of others’ terror. We are all a little scared, you see? It is difficult to greet another when fear is in the way, yet very special melodies erupt of collision.
I chose a selection of musics that for me express a practice of survival, curiosity with rudiments, and a habit of listening closely to the subtleties of languages we do not yet speak or understand…
1. µ-ziq – droops
2. Karlheinz Stockhausen – Stimmung: Model 2
3. Karlheinz Stockhausen – Stimmung: Model 3
4. Moor Mother – Creation Myth
5. Doon Kanda – Feline
6. Wolf Eyes – Texas
7. Stine Janvin Motland – Fake Synthetic Music (Live at NMASS2016)
8. Simon Chioini – Want/Need X György Ligeti – Sonata: Dialogo I (Adagio) (Performed by Miklos Perenyi)
9. Carl Stone – Echoing X Ziúr – Taiga
Kara-Lis Coverdale is a composer based in Montréal.
MixTate: Shcaa on Paul Klee
Paris-based producer and composer Shcaa reflects on the many shades of mystery in Paul Klee’s watercolour
A Young Lady's Adventure 1922
Image released under Creative Commons CC-BY-NC-ND (3.0 Unported)
I knew I wanted to work on a mix for a Paul Klee painting even before I had an idea of what I might find in the Tate collection. I have been captivated by his work for some time, and I think it is because I enjoy his balance, his delicacy in whispering to the subconscious. Klee elevated his art by intellectualising every facet of it – he knew what aspects needed to be considered and executed in a precise manner; at the same time, he also preserved other spaces for spontaneity where he could let the imperfections of organic life express themselves. This is something I reflect on a lot in my music. Nowadays, digital technologies provide us with a tremendous amount of control over sound. But how much can I control before losing the soul? Can life be reproduced in and through sound? Paul Klee surely believed that, through art, we can recreate a new nature – and this is a notion I cherish.
Klee’s images are also simply beautiful. It took me all of three seconds to fall in love with A Young Lady’s Adventure 1922, despite first seeing it through the filter of a pixelated computer screen. The mossy colours of the chiaroscuro were my primary inspiration and this is reflected in what might be called the ‘surface theme’ of the mix – the various ‘shades’ of the different musical pieces mingle and coalesce to produce a palette that, to my eyes and ears, feels similar to Klee’s.
Lingering over this watercolour gives me the sensation of a struggle: the encounter between the tame and the wild. A gracious, pure and naïve figure faces its greatest test which is not knowing. The wolf appears discreet at first, but his presence in the frame soon becomes unavoidable. Klee is unbelievably good at giving a mystical dimension to the unknown. Similarly, I tried to sustain a level of inscrutability throughout the mix. I enjoyed making some of the transitions between elements very apparent, without letting the story suffer. There is a kind of majesty in sharp contrasts.
1. Loren Mazzacane – An Air
2. Thomas Köner – Tiento De Las Nieves
3. Conjoint – Concessions
4. Heitor Villa-Lobos – Bachianas Brasileiras No. 6 for flute and bassoon – I. Ária (Chôro)
5. Supersilent – 6.6
6. Ánde Somby – Wolf
7. Shima33 – Expression 2F: Weightless Upon Midnight
8. Alexander Scriabin – Feuillet D'album, Op. 58
9. Oren Ambarchi – Inamorata
10. James Green – Ribbon
11. Loren Mazzacane – Untitled
12. Shcaa – Suspicions of Weakness
Shcaa is a producer and composer based in Paris. Camera Obscura was released this summer on Archipel; his debut LP Golconde (as Placid Strait) is out soon on Sharingtones.
Shcaa will be performing alongside Roedelius & Christopher Chaplin (live) at Intrinsic, 18 September.
MixTate: Hieroglyphic Being on Wifredo Lam
For the thirteenth in our series, Chicago-born Jamal Moss (aka Hieroglyphic Being) presents a new piece of music inspired by the work of Wifredo Lam
[no title] 1975–6
© ADAGP, Paris and DACS, London 2016
I approached this MixTate from a slightly different perspective. Rather than mixing other artists' music to complement a painting, sculpture or installation, I translated the visible forms of Wifredo Lam's untitled print into a sonic narrative. For the 20-minute-plus piece, I applied my distinctive approach – what I call 'rhythmic cubism' and 'synth expressionism' – to infuse the visual world with a conceptual, aural synaesthesia.
Jamal Moss, aka Hieroglyphic Being, is a producer from Chicago, IL. His latest album The Disco's of Imhotep was released in August on Technicolour.
The EY Exhibition: Wifredo Lam, Tate Modern, 14 September 2016 – 8 January 2017.
MixTate: Minor Victories on Christopher Richard Wynne Nevinson
For MixTate number 12, Minor Victories’ Justin Lockey approaches ‘The Soul of the Soulless City’ with dread and wonder
Christopher Richard Wynne Nevinson
The Soul of the Soulless City ('New York – an Abstraction') 1920
Justin Lockey I spend more than a fair percentage of my life in transit. Be it in a plane, train, sleeper bus, taxi, I spend a lot of time staring out of windows or portholes, watching distant shadows on the horizon form into breathtaking geometric vistas. I'm also one of the most anxiety-ridden passengers I know and Christopher Richard Wynne Nevinson's The Soul of the Soulless City 1920 encapsulates the two opposing, oft overpowering, and exceptionally vivid reactions in my body.
Firstly, the wonder and amazement of an approaching city, not knowing what lies between the right angles, the overpowering size and arrangements of skyscrapers, the sense that anything could be around any corner – a life-changing moment, a chance meeting, a life-ending road crossing, a life-affirming protest gathering. Anything is possible, anyone is possible, any idea plausible. The way in which the railway tracks shoot straight for the heart of the cityscape at speed in this painting gives me an overwhelming sense of the excitement of what could be in the fast-approaching metropolis. All is full of possibility: you are but one of millions in a swarm of souls drifting between the blocks, plotting your own way.
This painting also fills me with utter dread. The sense of being overwhelmed by your own senses – new sounds, new sights, new smells, new forms. The painting directs us into the unknown, and there are no brakes. We are at speed, heading towards this fear of the unknown, the other side of the curious mind, the anticipation of not knowing your surroundings, being out of your comfort zone. It's a constant battle between opposing ideals of what the future holds – and this painting forces us to confront it and not look away: welcome to your future at a thousand miles an hour, make of it what you will.
I spend more than a fair percentage of my life living in this painting.
1. Neu! – Leb' Wohl
2. Jónsi & Alex – Boy 1904
3. Lubomyr Melnyk – Pockets of Light (Excerpt)
4. Claude Debussy – String Quartet in G minor, Op. 10 – III. Andantino, Doucement Expressif
5. Fairport Convention – Meet on the Ledge
Minor Victories is a group formed of Rachel Goswell (Slowdive), Stuart Braithwaite (Mogwai), Justin Lockey (Editors) and James Lockey (Hand Held Cine Club). Their self-titled debut album is out on Fat Possum (US) and Play It Again Sam (worldwide).
MixTate: Visionist on Francis Bacon
For the eleventh mix in our series, London-based producer Visionist sees light through the darkness of Francis Bacon's Study for a Portrait 1952
Study for a Portrait 1952
© Estate of Francis Bacon. All Rights Reserved, DACS 2016
On a recent visit to Tate Britain it was Francis Bacon’s Study for a Portrait 1952 that most caught my attention. For me, seeing a suited man screaming plays on the notion of outward appearance versus what might be going on inside. The suit is a symbol of professionalism and control, but the action shows the opposite. I guess it is an image I can relate to as I have constant battles with myself. Music for me is a great sense of release as I work on internal situations. In the man’s outburst I don’t just see anger, I see a way of letting off stress and that there can be light in every darkness depending on your approach.
1. Visionist – Sin-cere
2. Phillip Glass – Morning Passages
3. Visionist – To Careful To Care
4. William Basinski – Melancholia
5. Visionist – FYA
6. Steve Reich – Proverb
7. Visionist – Safe
8. John Cage – Dream
9. Visionist – Untitled 1
10. Terry Jennings – For Christine Jennings 1960
11. Visionist – Untitled 2
Visionist is a producer based in London. His debut album Safe was released on PAN in 2015.
MixTate: Lixo on William Hogarth
For the tenth mix in our series, London-based producer Lixo takes inspiration from William Hogarth’s Gin Lane 1751
Gin Lane 1751
I found Gin Lane 1751 very striking as a teenager. It’s incredibly sinister and yet somehow comic in its depiction of London’s booze epidemic during the 18th century – an image which seems all too relevant today. There is a tension in the detail of the piece and a somewhat surreal tone which I try and convey in my own drawings and, in turn, in the music I make. I would say my sound is rooted in London and Hogarth’s piece evokes the immense history the capital holds. I feel it's all somehow connected – a progression from the syphilitic woman drunk on 'Mother’s Ruin' to contemporary binge drinking, promiscuity and the imminent collapse of society as we know it.
1. Lixo - Untitled
2. Lixo - Untitled
3. Lixo - Untitled
4. Lixo - Effexor
5. Lixo and The Ritson Brothers - AT-4
6. Lixo - Not The Answer
7. Lixo - Splurger
8. Lixo - Untitled
MixTate: Prayer on J.M.W. Turner
For the ninth mix in our series, experimental producer Prayer takes inspiration from J.M.W. Turner’s Death on a Pale Horse (?) c.1825–30
Death on a Pale Horse (?) c.1825–30
This is the first Turner painting I was introduced to, and it sparked my interest in his work and impressionism during my teenage years. Later when studying impressionism in music, such as the works of Debussy and Ravel, I was fascinated by the parallels between the sounds I was hearing and the art I was interested in; impressionism hints at a scenario but never quite provides the full image, and this painting in particular has had a profound effect on the way I look at art / music – that I like it to be hazy but never shy at getting a point across.
1. Claude Debussy - La Cathédrale Engloutie
2. Michael Nyman - To The Edge Of The Earth
3. Jean Sibelius - Symphony No. 6 In D minor, Op. 104 – I. Allegro Molto Moderato
4. Prayer - Chances
5. Maurice Ravel - Gaspard De La Nuit – Le Gibet (Très Lent)
6. Eluvium - Wind Book
7. Steve Reich - New York Counterpoint – I. Fast
8. Michael Nyman - Ordinary Citizens
9. Knut Nystedt - Immortal Bach
10. John Taverner - Funeral Canticle
11. Prayer - Dark Beneath
12. Max Richter - When The Northern Lights / Jasper And Louise
13. Prayer - Silence Before
14. Prayer - Kind
Prayer is a producer based in London. His second EP Beneath is out now on Grade 10.
J.M.W. Turner’s Death on a Pale Horse (?) c.1825–30 was accepted by the nation as part of the Turner Bequest 1856 and is currently on display at Tate Britain
MixTate: Helena Hauff on Robert Peake
For the eighth in our series of mixes, DJ and producer Helena Hauff takes inspiration from Robert Peake's Lady Anne Pope 1615
Lady Anne Pope 1615
When I was first contemplating whether or not to do this mix I had no real idea or preconceptions as to which painting or work of art would inspire me. While browsing through the Tate collection I was immediately struck by the intense, sombre beauty of this picture of Lady Anne Pope 1615 by Robert Peake. The portrait seemed to have a striking similitude with the overall feeling of music I’ve been listening to. The face evoked in me the feeling of a life of someone living in a time of darkness, suspicion, superstition and fear. I can imagine her walking through the grounds of her Elizabethan manor house listening to this on her Walkman.
1. Meredith Monk - Calls
2. Nico - We've Got The Gold
3. Zov Zov - Endless Lines
4. Stimulus - Transference
5. Mecanica Popular - Las Maravillas Del Mañana
6. Felix Kubin - Restez En Ligne
7. Λένα Πλάτωνος - Μάγισσες
8. Unknown Artist - Orgelns Födelse
9. De Frontanel - Le Partenaire
10. Shemale - Stone Circle
11. Meredith Monk - Pine Tree Lullaby
Helena Hauff is a DJ and producer based in Hamburg, Germany. Her debut solo album Discreet Desires was released on Werkdiscs / Ninjatune in September 2015
MixTate: Jan St Werner on Dieter Roth
In the seventh mix in our series, composer and one half of Mouse on Mars Jan St Werner takes inspiration from Dieter Roth's Two Persons 1971
Two Persons 1971
© The estate of Dieter Roth
Two Persons by Dieter Roth is an image as much as it isn’t depicting anything. It’s a juxtaposition of invisibility with formalization, an idea of an imaginative possibility and a strategy how to frame it. The title suggests it’s a portrait of two persons. Those two persons could be one and the same, like a cubistic observation from different angles. Or maybe they are mistakenly seen as two persons but in fact they are just incidents of overlaying outlines of things suggesting resemblance to something human? Maybe these outlines are trackings of movements like shadows of someone's actions?
Roth’s art is very dynamic and at the same time calm and lightly metaphysical. It is also about the paradox like everything was possible in our minds and art was just a proof that our mind is limitless. His paintings, prints, drawings, collages are all like direct spectrograms of the mind.
This mix tries to follow the same path: there’s a soundtrack of everyday actions which I recorded around the Italian castello di fosdinovo in summer 2014. Inside that soundtrack I arranged the musical pieces. These two parallel layers sometimes blend seamlessly, sometimes the music leads, sometimes the field recordings take over and indicate some kind of a narrative. Roth’s drawings fold and bend in similar ways: foreground and background flip continuously. The white of the space is as important as the drawing inside/around of it. At times it seems irrational like an Escher painting: the more you fix it, the more it slips away and the outside becomes the inside. The music here does the same, it is calm and subtle but when you listen closely, preferably with headphones, the sounds make unexpected turns, break your expectations of rhythm, time and form and reveal an absurd life of their own.
1. Franco Battiato – L'Egitto prima delle sabbie
2. C-Schulz & Hajsch - (Untitled)
3. Oval – II
4. Andy Graydon – Efface, Erase, Redact (Triptych)
5. Olivia Block – Pure Gaze
6. Jan St Werner – Spiazzacorale A
7. Jan St Werner – Sipian Org Test
8. Luc Ferrari – Presque Rien N°4 La Remontée Du Village
9. Morton Feldman – Duration I
MixTate: Conor Thomas on Jackson Pollock
For the sixth in the series, Manchester-based DJ Conor Thomas takes inspiration from Jackson Pollock’s Summertime: Number 9A 1948
Summertime: Number 9A 1948
Oil, enamel and house paint on canvas
support: 848 x 5550 mm frame: 833 x 5809 x 72 mm
Purchased 1988 Pollock - Krasner Foundation, Inc.
In the rhythmic patterns of Jackson Pollock’s Summertime: Number 9A 1948 I see a graphic score transcribing the chaotic energy and discipline that would also come to be harnessed in jazz, concrète and psychedelia. My response to the piece is both kinaesthetic and synaesthetic, seeing the static trance of a dance-floor frieze and hearing a parallel to the flowering of freeform abstract expression in the musical arts around that era.
I feel like the morphing chaos of Pollock’s polymetric syncopation: carving contours and shocks of colour render a hyperfluid analog for the geometries of free jazz, electronic music and the avant-garde that I most appreciate. I also hear a similarity between Summertime: Number 9A and the style of DJing that I prefer: layered, nonlinear, psychedelic – finding a ‘third track’ from the tumult.
To paraphrase the title of David Stubbs’s book Fear Of Music: Why People Get Rothko But Don’t Get Stockhausen, my mix response features relatively fringe but artistically relevant pieces of music by pioneering artists from scattered phase shifts of the past 60 years, all prompting the question: ‘Why do people get Pollock and not…?’
1. Pierre Schaeffer - Études aux chemins de fer
2. Mark Fell - Phase
3. Hieroglyphic Being - Cosmicos 6
4. Ndikho Xaba & The Natives - Schwabada
5. TCF - iP+JYMBmXYCqrkbZfwDPge2B5Slss
6. Michael O’Shea - Anfa Dásachtach
Conor Thomas is a Manchester-based DJ, promoter and co-curator of The Death of Rave and Boomkat Editions record labels.
MixTate: HVOB on Helena Almeida
For the fifth in our series, Austrian duo HVOB take inspiration from the serenity and clarity of Helena Almeida’s series Drawing (with pigment) 1995–9
Drawing (with pigment) 1995–9
Ink and pastel on paper
294 x 208 mm
Anna Müller There are pictures that demand your attention. And there are pictures that appear unremarkable. That’s their party trick. These pictures are like Trojans. They work their way into your head, into your heart and soul, where they flourish, and the best ones stick with you forever. I’m not familiar enough with Helena Almeida’s work to be able to discuss it. But judging by the pictures of hers I do know, she is a master of the visual equivalent of an earworm. When I came across this picture for the first time, I almost overlooked it. But it soon came back, like a memory, you could say that the picture materialised within me. I’ve carried it with me ever since, it accompanies me, sometimes it’s stoical, sometimes imperious, sometimes expectant or dormant.
Paul Wallner I’m captivated by the perfection of the drawing. This simplicity creates a calmness and clarity, a serenity and wisdom, which nurtures the desire to discover new things.
1. Gravenhurst - Song From Under The Arches
2. HVOB - The Anxiety To Please
3. Aphex Twin - 18 With My Family
4. Naked Lunch - Town Full Of Dogs
5. 13 & God - Soft Atlas
6. The Cooper Temple Clause - 555-4823
7. Mogwai - I Know You Are But What Am I?
8. HVOB - Ghost
HVOB (Her Voice Over Boys), aka Anna Müller and Paul Wallner are a producer duo from Vienna, Austria. Their second album Trialog is an interdisciplinary collaboration between HVOB, the VJs licherloh and Clemens Wolf and released April 2015
MixTate: FaltyDL on Ford Madox Brown
For the fourth in our series, New York-based producer FaltyDL takes inspiration from Ford Madox Brown’s Take Your Son, Sir c.1851–92
Ford Madox Brown
'Take your Son, Sir' ?1851-92
Oil on canvas
support: 705 x 381 mm frame: 874 x 550 x 50 mm
Presented by Miss Emily Sargent and Mrs Ormond in memory of their brother, John S. Sargent 1929
Ford Madox Brown abandoned this painting. Legitimate child or not, the woman and baby feel abandoned as well. Spoken loudly and clearly, the mirror above the woman is like a halo, however contaminated with the father’s reflected image. Why does her religious definition need him? What does it have to do with this guy, who would, perhaps, later leave her and her kid? Maybe he thought she existed only with him. Maybe Madox Brown knew his own son would die soon, aged only 10 months, and that is why he couldn’t finish it.
It’s quite a statement if you can draw as much information from missing ink as you can with what is provided. Miles Davis said: 'Don’t play what’s there; play what’s not there.’ I suppose I like paintings as I like my music – with plenty of room for interpretation. Mind you, I can’t even write my own name legibly.
1. E+E - Sword
2. Harry Escott
3. Roly Porter - Birth
4. Dean Blunt - 50 Cent
5. Grouper - Labyrinth
6. Aphex Twin - Father
7. Ben Frost & Daníel Bjarnason - Cruel Miracles
8. Ben Frost & Daníel Bjarnason - Hydrogen Sulfide
9. FaltyDL - GA 2 tape outcome.z120583
FaltyDL is a New York-based producer and electronic musician. His fourth album, In The Wild, was released on Ninjatune in 2014
MixTate: WIFE on Bill Viola
For the third in our series, London-based multi-instrumentalist WIFE takes inspiration from Bill Viola’s Tiny Deaths 1993
Bill Viola, still from Tiny Deaths 1993
Video, 3 projections, black and white and sound
Lent by the artist, 2014
© Bill Viola
With such simplicity, the work offers the viewer a means of engaging with a shared truth with which we are born. The art which has always resonated with me the most is that which enables me to withdraw from consciousness and engage with the world that the art is offering. I favour art that affects the soul more so than the mind - something which I believe Viola has mastered. This is a quality that my favourite music offers, and one which I aim to deliver in my own work.
1. WIFE - Heart Is a Far Light (Locrian Remix)
2. Terence Sharpe - Without Conveyance
3. The Haxan Cloak - The Fall
4. Eric Dingus - 1224 Love Song
5. Oceanlab - Satellite (Acapella WIFE edit)
6. Quays - 917-410-6948 (excerpt)
7. WIFE - Heart Is a Far Light (blown out edit)
WIFE is a solo project by multi-instrumentalist James Kelly, formerly of Altar of Plagues. His debut album What’s Between was released on Tri Angle in 2014.
MixTate: Claude Speeed on Matthew Barney
For the second in our series, Berlin-based producer Claude Speeed takes inspiration from Matthew Barney’s Cremaster 5 1997
Barney as The Queen of Chain’s Diva in Cremaster 5 1997 Production photo
© Matthew Barney; courtesy Barbara Gladstone Gallery
From childhood, esotericism never seemed too far away. On one side of the family, Freemasonry; on the other, Theosophy. I was pretty sure some hidden knowledge was waiting just out of reach. (Perhaps bizarrely, I always thought the best bet was the floppy disks full of cracked Atari video games…)
So I’ve always been on the one hand, fascinated and obsessed by symbols and ritual, and on the other hand bored rigid by straightforward narrative. And when I saw the five-film Cremaster Cycle in 2004 with no context or idea what to expect, I was amazed.
The whole Cycle shows a series of interconnected rituals, based on various mythologies, with little or nothing by way of exposition. The richest and most focused is Cremaster 5. It’s an opera of bizarre rituals, which the blurb describes as ‘a tragic love story set in the romantic dreamscape of late-nineteenth-Century Budapest’. But it’s much weirder than that. One ritual involves Barney, having pigeons tied to his scrotum with long white ribbons.
In one way or another Cremaster 5 has been a huge influence on my work since; a memory portal to my childhood’s esoteric dreamscape.
1. Claude Speeed - KRT (unreleased)
2. Claude Speeed - CKK (unreleased)
3. Claude Speeed - Lovers I (unreleased)
4. Claude Speeed - Tiger Woods
5. One for Ghost - Side A (01-06)
6. Academy 23 - 12 (unreleased)
7. Cashmere Cat - With Me (Sevendeaths “Wither Me” Remix)
8. RUSSIA - A M
Throughout: words spoken by LW
MixTate: E.M.M.A on Eduardo Paolozzi
For the first in a series of commissioned mixes inspired by works in the Tate collection, London-based producer E.M.M.A creates a mix of her own tracks, including some exclusive new material, influenced by Sir Eduardo Paolozzi's Bash 1971
Sir Eduardo Paolozzi
Screenprint on paper
image: 743 x 495 mm
Purchased 1981 The Estate of Eduardo Paolozzi
This artwork stood out to me because I often draw on American history in my own music. That's not to say nostalgia; what I like about this picture is the vision of the future it represents, it has a sci-fi feel, which is something I am influenced by too. I like the juxtaposition between the robots and the human heart. I think it captures the imagination of the time.
1. E.M.M.A - Glitter (Synthetti Western remix)
2. E.M.M.A - Midnight Highway
3. E.M.M.A - At Sea (Prelude)
4. E.M.M.A - Pyramids
5. E.M.M.A - Nuclear Fission
6. E.M.M.A - Encarta '96 Intro
7. E.M.M.A - Mood Ring
8. Dark0 ft. E.M.M.A - Slo Mo
E.M.M.A is a producer based in South West London. Her debut album Blue Gardens was released in 2013 on Keysound Recordings.