Art Jarvinen: Breaking the Chink (1993)
Art Jarvinen: Breaking the Chink (1993)
performed by Icebreaker (soprano saxophone, baritone saxophone, bass clarinet, trombone, violin, viola, electric bass, 2 electric guitars, synthesizer (or piano), 2 percussion)
Arthur Jarvinen 1956-2010 (via David Ocker/Mixed Meters)
An Art Jarvinen Portrait (via Kyle Gann/Postclassic)
Art Jarvinen website/music compositions
Mikel Rouse-Dennis Cleveland/Madison Square (1996)
Mikel Rouse-Dennis Cleveland/Madison Square (1996) (mp3)
“Dennis Cleveland is a multimedia opera that is set entirely on a television talk show in the late 20th century. It is the second opera in a Trilogy that consists of Failing Kansas, an opera based on the events surrounding the murder of the Clutter family in Holcomb, Kansas and inspired by the examination of those events in Truman Capote’s In Cold Blood and The End Of Cinematics an opera that explores the nature of corporate entertainment.
The host, Dennis Cleveland, is the catalyst and provacatour of the opera, as well as the vehicle through which the story of the opera is told. The various soloists (placed in the audience) and chorus (guests that appear on stage) are linked together by the talk show host. As befits the current obsession with confessional talk shows, the content of the story evolves through the constant interaction of Dennis Cleveland and his guests. Though the guests appear to be telling their own stories, stories of lost love,obsession, crimes and regrets, what soon becomes clear is that they are telling the story of Dennis Cleveland as well.
Dennis Cleveland uses the live tape talk show format as its model while subverting the structure of this format through a series of cleverly disguised motifs. Like the various talk shows that abound worldwide,the audience and the stage become one under constant unrelenting television studio lighting. Live videoof audience reactions and the inclusion of actors in theaudience as well as trained singers and soloistscomplete a staging that offers a new way of looking at opera.
Ultimately, the narrative is derived from the libretto, which follows Dennis Cleveland through a myriad of encounters chronicling the promise of salvation through popular culture. There is an Elmer Gantry like quality to the host and his reality, particularly the late 20th century phenomenon of television ritual as a replacement of ceremony previously associated with religion. Thus, the ritual is enforced in real time as the opera progresses and it soon becomes apparent that the audience exists in Dennis Cleveland’s future: that of the ultimate voyeur, the T.V. talk show host.”
-1996 Mikel Rouse
http://www.facebook.com/pages/Mikel-Rouse/37175686542
Upcoming Dec 7 & 9—11, 2010, 7:30pm
NY Premiere
Gravity Radio
Part of the 2010 Next Wave Festival
Jeremy Keenan (Upside Down Umbrella): 4 am Hong Kong Sun (2010)
am Hong Kong Sun: delirious + delicious = deliricious? A recording unit, a stereo pair of microphones, and an excellent Chinese dinner at a particularly strange juncture. Later that night, an MS20 analog synth recording, some editing and a basic structure. The next day, a guitar and bass guitar overdub by Alex Abalos, and some additive synthesis atmosphere. Finally, some live granular overdubs by Edgar Curtis, and a lot of mixing. Enjoy your meal.
Download 4am Hong Kong Sun (clip)
curated by Jim Perkins from his twigetticast #2
Jeremy Keenan (Upside Down Umbrella): All Out Valhalla
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‘All Out Valhalla was created entirely from four 8 bar electric guitar recordings. The rhythmic and percussive elements were extracted from transient sonic moments within the recordings and processed into discrete sounds. The piece contrasts the original recordings with transformed versions, creating an interplay between the abstract and the concrete.’
curated via Jim Perkins from his twigetticast (itunes podcast)
Adam Kondor: Ildikó Vékony (2009)
Adam Kondor: Ildikó Vékony (2009)
Adam Kondor’s memorial to his ex-wife who died in a fall while rock climbing. The performance is a mashup of found sounds/field recordings and his wife performing his Six Sonate for Cimbalom Solo
“Ildikó was one of the world’s premiere cimbalom players (in Adam’s own words “She was the best cimbalom player in Hungary, and for classical music probably the best all over the world – not many people play Bach on cimbalom”), and a composer in her own right. She’s featured on all kinds of major recordings, and had worked with everyone from Kurtag to Ligeti to Eötvös (in fact she was soloist just last January in NYC at Zankel Hall, in a concert led by Eötvös)” http://bit.ly/6rMCcq
you can read more about the memorial here
Paul Bailey: Music for Controllers V (2009)
Paul Bailey: Music for Controllers V
via paul bailey:
“improvisation performed and recorded live created by using various “controllers” (macbookpro, ableton live, korg nanokey, iphone, (buddha machine and srutibox) originally performed on ImprovFriday event. October 16th-17th 2009″
Music for Controllers V by paul bailey
curated by Shane Cadman
Mary Jane Leach: Guy De Polka (1987)
Mary Jane Leach: Guy De Polka (1987)
Commissioned by Guy Klucevsek Premiered 10/1987 by Guy Klucevsek, New Music America, Philadelphia
Recorded on “Who Stole the Polka?” Wave/eva WWCX 2037 (1993)
Jeff Harrington-Agnus Dei Wave (2002)
Jeff Harrington-Agnus Dei Wave (2002)
“AgnusDeiWave is an ecstatic ambient voyage through choral textures in deep space; the culmination of a series of experiments in formant wave synthesis. Vocal analysis from a recording of Josquin’s Agnus Dei motivates a timeless series of crashing heavenly vocal chords. My first piece on my Yamaha FS1R formant synthesizer.”
Jacob Gotlib: Gravity’s Self-Portrait for Guitar and Electronic Sounds (2009)
Jacob Gotlib: Gravity’s Self-Portrait for Guitar and Electronic Sounds (2009)
from jacob:
“It is often easy and natural for us to live as if we’re at the center of our universe, or the lead actors in a film chronicling our daily lives. From this perspective, it seems that we are stationary objects; that forces events, and people to act upon us, orbit around us. As i was writing this piece, I was imagining this perspective inverted– what if we are the active bodies, the supporting actors, reacting to and against a giant other force? The feeling of weight, of gravity pushing upon us, is a familiar one. But what is the gravity feeling as we act upon it?”
Tom Swafford: Expectorant (2009)
Tom Swafford: Expectorant (2009)
performed by String Power, November 15, 2009, Douglass Street Music Collective, Brooklyn
violins:Anna Brathwaite, Mark Chung, Liz Hanley, Tom Swafford, Helen Yee, Jeff Young
violas:Megan Berson, Leanne Darling, Nicole Federici
cellos:Loren Dempster, Brian Sanders
bass:Peter Maness
Killsonic Marching Gang: Liberation Technology (2008)
Killsonic Marching Gang: Liberation Technology (Live at KXLU June 7th 2008)
Killsonic is a collective of musicians operating in the Greater Los Angeles Area specializing in the creation, development and performance of new hybridized music. Comprised of a core quartet of guitar, bass, drums and woodwinds, the group names its primary musical source as the free jazz of Ornette Coleman, John Coltrane and Eric Dolphy. Similar to these artists, Killsonic also takes inspiration from contemporary art and sound. Listen closely for hints of Roni Size, Radiohead, Sonic Youth and Arab on Radar to Gyorgy Ligeti and Olivier Messiaen. Killsonic often performs with an expanded ten-member group that includes horns and vocalists. Members of the band have also performed alongside Arkestra Clandestina, Money Mark, Bobby Bradford, and Vinny Golia.
Killsonic’s debut album features a guest appearance by cornet and trumpet hero Bobby Bradford, of Ornette Coleman fame. Each track experiments with different instrumentation, from a clarinet/guitar duo, to an expanded group that includes a female choir.
http://www.cdbaby.com/cd/killsonic
Trent Reznor: Ghosts 1.1 (2008)
“This music arrived unexpectedly as the result of an experiment. The rules were as follows: 10 weeks, no clear agenda, no overthinking, everything driven by impulse. Whatever happens during that time gets released as… something.
The team: Atticus Ross, Alan Moulder and myself with some help from Alessandro Cortini, Adrian Belew and Brian Viglione. Rob Sheridan collaborated with Artist in Residence (A+R) to create the accompanying visual and physical aesthetic.
We began improvising and let the music decide the direction. Eyes were closed, hands played instruments and it began. Within a matter of days it became clear we were on to something, and a lot of material began appearing. What we thought could be a five song EP became much more. I invited some friends over to join in and we all enjoyed the process of collaborating on this.
The end result is a wildly varied body of music that we’re able to present to the world in ways the confines of a major record label would never have allowed – from a 100% DRM-free, high-quality download, to the most luxurious physical package we’ve ever created.
More volumes of Ghosts are likely to appear in the future.”
- Trent Reznor, March 2, 2008
NIN Ghosts: I-IV
SchizoBrainiac: The Prince of Texarkana (2009)
SchizoBrainiac: The Prince of Texarkana
“Inspired by the works of Conlon Nancarrow. Tempo of 85 BPM maintained throughout.”
The Prince of Texarkana by SchizoBrainiac
SchizoBrainiac:(Solo Goodspeed)
ALONE TOGETHER: MUSIC DADA (bara no kodoku)
I wonder what Nancarrow would think? Piano glitch collage track that always makes me smile (especially the ending!)
Jon Brenner: Trap Doors and Open Windows
trap doors and opaque windows by jon brenner
written, performed and mixed by jon brenner.
Released by: klomp music
