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Home / Listen / Musicworks magazine recordings / Musicworks 116 CD
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Various artists issue # 116
1High Above a Grey Green Sea (2013) Composed and performed by Colin Stetson. From the album New History of Warfare Vol. 3: To See More Light (Constellation Records, CST092, cstrecords.com). Licensed courtesy of Constellation Records. © 2013 Colin Stetson. 4:27
2Transplant (2008) Composed by John Wynne. Stereo mixdown from Transplant, a twenty-four-channel photographic and sound installation. “In various ways, heart and lung transplants blur the easy distinctions between life and death, between being alive and not. The transplant unit at Harefield is a place where all these issues cross, where dying and living has a different and more elastic meaning than in the world outside.” —Charles Darwent from “The Dance of Life” © 2008 John Wynne. 19:34
3Duo for Cajón and Computer (2011) Composed by Cort Lippe. Performed by: Patti Cudd (cajón); Cort Lippe, (computer). Duo for Cajón and Computer was commissioned by percussionist Patti Cudd for a tour of Korea and Thailand in May of 2011. Using the software Max/MSP, the computer tracks parameters of the cajón performance using Miller Puckette’s bonk~ object, which gives information as to when the cajón is struck, the loudness and timbre of each strike, and details about relative amplitude across the spectrum in 11 independent frequency bands. All this information is used to continuously influence and manipulate the computer sound output by directly affecting digital synthesis and compositional algorithms in real-time. The intent is to create a certain degree of intimacy and interactivity between performer and computer, such that the performer has the potential to influence the computer output based on aspects of the musical expressivity of his/her interpretation of the score. The piece is dedicated to the late Max Matthews, who passed away on April 21, 2011. —Cort Lippe Recorded live by Christopher Jacobs at the University of Buffalo Hiller Computer Music Studios concert of March 27, 2013. © 2011 Cort Lippe. 9:28
4How I Go Through (2013) Composed by SlowPitch (Cheldon Paterson). From Emoralis, a twenty-five-minute live audiovisual piece by SlowPitch (Cheldon Paterson) and his creative and life partner Wifihifiscifi (Vanese Smith) Emoralis was inspired by the movements and colours of a species of snail called Cepaea Nemoralis. During the creation of the music, I imagined what a snail would sound like moving slowly across different surfaces and interpreted that with sounds manipulated by my hands via a turntable. The marriage between the liquid like morphing movements of the snails and the turntable wobbles, warps and slow scratches could not be a more perfect combination. —Cheldon Paterson Recorded at Startwins Studio Mississauga, Ontario, February 2013. © 2013 Cheldon Paterson. 2:47
5Glide Over Forest Floor (2013) Composed by SlowPitch (Cheldon Paterson). From Emoralis. Recorded at Startwins Studio Mississauga, Ontario, February 2013. © 2013 Cheldon Paterson2:39
6Anterior Second Movement (2013) Composed by SlowPitch (Cheldon Paterson). From the album Emoralis (Phonosaurus Records, www.phonosaurus.com). Recorded at Startwins Studio Mississauga, Ontario, February 2013. Licensed courtesy of Phonosaurus Records. © 2013 Cheldon Paterson.3:13
7Toy Adonis (2013) Improvised by Panos Ghikas and Jennifer Walshe. From the album Good Teeth (Migro Records, MIG002, migrorecords.com). Panos Ghikas and Jennifer Walshe originally met at the Internationale Ferienkurse für Neue Musik in Darmstadt, Germany more than ten years ago. They stayed in touch and, back in London, in 2010 began to produce what they call [sic]„unreal-time surround improv.” Good Teeth, is the duo’s first album-length audio document of their employing this conceptually stringent, yet liberating approach to improvising. As they put it, “Voice, viola, drums, and trumpet improvisations are recorded, broken down into gestural material and then projected through the use of software onto an e-drum kit. The metainstrument incites a different type of physical triggering of sounds from the original bodily gestures that produced them. The resulting performance is the outcome of real-time and non-real-time processes that blur temporal perception and offer a new gestural syntax to both the performer and the audience.” Basically, one of them is throwing recordings of the other back at said other in a confusingly rearranged way to see how the other will react while in turn reacting to that reaction in real time. —Migro Records Licensed courtesy of Migro Records. Phonogram Copyright 2013 Migro Records. © 2013 Panos Ghikas and Jennifer Walshe. 13:28
8Frigate (2009)Composed by J.T. Rinker. Performed by: Rin Ozaki (crotales) and J.T. Rinker (computer). Through the use of various analyses, (re)synthesis, and filtering techniques, the computer extends the range of the crotales upwards, creating a second phantom part (utilizing frequencies above human perception) that is only revealed when interfering/interacting with the high spectra of the instrument. The topography of the instrument is explored through the generation of music materials based on braiding/plaiting algorithms in which the metal discs are imagined as long vibrating threads. —J.T. Rinker Recorded live by Chris Jacobs at Hiller Computer Music Studios, October 2009. © 2009 J.T. Rinker. 9:49
