Musicworks 130 CD | Musicworks magazine

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Musicworks issue # 130

Buy the Musicworks 130 CD at https://musicworksmag.myshopify.com/collections/back-issues/products/spring-2018

1The Gravity of Plim (2017) 3:52

Composed and performed by Erik Ingalls (sampled voice, virtual synthesizer).
Sampled in The Other Room in 2015.
A gentle if cautionary work, containing the last samples of human language, assembled by future researchers in an attempt to understand a long-lost civilization. —Erik Ingalls

© Ingalls, SOCAN
14:20
2Boreal Eclipse (2018)

Improvised performance by Kelly Ruth (weaving loom and tools, electronics).
Previously unreleased.
Recorded by the artist in one take in her studio in Edmonton, Winter 2018.
All sounds are generated with a cloth-weaving loom and its tools, using contact microphones, effects, and loop pedals.—Kelly Ruth
© Ruth
7:34
3Mehcinut (2018)

Composed and performed by Jeremy Dutcher.
From the album Wolastoqiyik Lintuwakonawa (JD003) released April 6, 2018.
Recorded at Union Sound, Toronto; Studio PM, Montreal; and The Isabel Bader Centre for the Performing Arts, Kingston.
Recorded by Devon Bate and mastered by Jonathan Kaspy and Richard Addison (Trillium Sound).
Wolastoqiyik Lintuwakonawa, the debut album by Canadian composer and tenor Jeremy Dutcher, involves postclassical rearrangement of his Wolastoq First Nation traditional music. The album is the artist’s contribution to his heritage and community, representing his commitment to revitalizing the Wolastoq language, which has fewer than 100 speakers alive today.

© Dutcher, SOCAN, all rights reserved
4:50
4Helmut Down (2018) 4:50
Composed and performed by Vanese Smith (electronics, synths).
From the album Felt Armour (released March 6, 2018).
Felt Armour is about finding balance in life. The battle between being strong and being allowed to feel. Appearing to have a tough exterior that is actually soft and even fragile. Not being afraid to have grand ambitions, knowing that there will be obstacles along the way. Learning to embrace the journey and the process, even if it's a battlefield. And ultimately not giving up in the face of adversity.
— Vanese Smith

© Smith, BMI

4:50
5Honey Limbo excerpt (2008) 3:47

Composed by Sam Shalabi.
Performed by Lhasa de Sela, Jessica Moss, John Heward, and Sam Shalabi.
From the album Eid (Alien8 Recordings, 2008).
© Shalabi, SOCAN
3:47
6Music for the Egyptians excerpt (2014)

Composed by Sam Shalabi.
Performed by Aida El Kashef, Maurice Louca, Sam Shalabi.
From Music For Arabs (Majmua Music, 2014).
© Shalabi, SOCAN
3:30
7Baka of the Future excerpt (2016)
Composed and performed by the Dwarves of East Agouza: Sam Shalabi, Alan Bishop, and Maurice Louca.
From Bez (Nawa Recordings, 2016).
© Bishop, Louca, Shalabi
3:27
8Fleas excerpt (2018)

Composed and performed by Sarah Hennies.
Originally released as a cassette called Fleas (Ultraviolet Light).
The music on Fleas was made entirely from objects found at thrift stores and flea markets, including a dozen small bells and a bass drum someone had converted into a lamp with Lou Reed’s face painted on it, before throwing it out. Not exactly music made from trash, but music made from objects of little monetary value that someone decided they didn’t want anymore. Objects usually tell you how to play them if you’ll allow it.—Sarah Hennies

© Hennies

11:44
9Bernheim Arboretum, September 27, 2015 (2015)

Field recording by Aaron Rosemblum (Sony PCM-M10 recorder, using internal stereo omnidirectional microphone array), around 11:00 p.m. at the Garden Pavilion, Bernheim Arboretum and Research Forst, Clermont, Kentucky, U.S.A., September 27, 2015.

A recording made near the shore of Lake Nevin, a small lake located near the entrance to the Forest, and situated not far from a state road and, beyond that, an interstate highway. The recording was made shortly after the conclusion of a SONICBernheim program, and the artists, organizers, and Bernheim staff are all present. A total lunar eclipse is under way, but for the most part obscured by clouds.
—Aaron Roseumblum

© Rosenblum
6:46
10Bernheim creek cart traffic (2017)

As I sat by a creek not far from the Arboretum stage on the day of SONICBernheim, a family, including a toddler with a toy cart, encircled me. This recording has been processed with a bass rolloff filter at 100 Hz.—Andra McCartney

2:35
11Bernheim creek cart traffic unfiltered (2017) 3:23

Composed, recorded, and produced by Andra McCartney.
This short piece demonstrates how the environment of the Bernheim Arboretum on a fall afternoon sounds in an unfiltered recording, with bass frequencies unchanged.—McCartney-
12Journées Sonores, canal de Lachine excerpt (2005)

Composed by Andra McCartney.
Recorded and produced by Andra McCartney and Lisa Gasior in the field and at Concordia University.
Interviews by Andra McCartney and Lisa Gasior with André Robichaud, Hélène Lamarche, Albert Laudi, and A. Zachary
Historical listening is expressed by residents of Lachine who remember the sounds of the canalnear Montreal when it was open as an industrial route, and who imitate those sounds. These are layered with archival sounds of the steamships of that time. The interviews were part of a sonic research project based on the sound environment of the canal as it reopened to recreational traffic.—McCartney

1:18
13Streetcars named for saints (2012)

Composed by Andra McCartney
Recorded, mixed, and produced by Andra McCartney in Toronto (1999) and New Orleans (2012).
The St. Clair streetcar was recorded for “Homing ears: soundwalk to home.” At a showing in Chicago, a listener commented that the streetcars with the best music are in New Orleans on the St. Charles line. This evocative listening struck me, and when I had the opportunity to visit New Orleans in 2012, I found the line with its beautiful, well-preserved cars, and recorded while riding, bringing the two places together in this piece.—McCartney

© McCartney (tracks 10 to 13)
2:13

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