And vice versa, from Leeds-based Chrissie Caulfield
The track “Weavezyme” is Chrissie Caulfield turning noise into music, specifically machine noise, and specifically something with a distant yet clinging association to classical music. The track is from a recent collection, titled Mechanisms, in which Caulfield’s violin and, to a lesser degree, cello join up with transformed recordings of machinery in action — here sodden thud and distant clank and rumbling drone. She notes in a brief accompanying statement, “This is an album based loosely on ‘mechanisms’ of various kinds. Many of the tracks feature actual mechanical noises, but some are just a nod to classical compositional ‘mechanisms’ or structures.” That sentence makes a helpful parallel to the concept of language itself being a form of technology.
Track originally posted at soundcloud.com/progchick. The album Mechanisms is streamable in full and available at “name your price” on music.chrissieviolin.info, via Bandcamp. More from Caulfield, who is based in Leeds, England, at chrissieviolin.info and twitter.com/chrissie_c.
[ Also tagged recommended stream
A Reichian piece by J.C. Combs
The title for J.C. Combs’ simple piano piece references the beading rhythmic experiments of famed minimalist composer Steve Reich. But it arguably has as much Gershwin in it as it does Reich. “Phase Study for Paul Muller” manages a small amount of swagger, a fair measure of swing. The driving pulse of the music has the busy urban nightscape quality of Reich’s early works in this manner, where musical lines of close derivation create sonic moiré patterns. Perhaps its the compact length, at barely three minutes, but Combs’ seems bustling and jaunty, rather than hallucinogenic and geometric.
Track originally posted for free download at soundcloud.com/jc-combs. More from Combs, who is based in Seattle, Washington, at jccombs.com.
[ Also tagged free download
"External Cabinet" by Yiva Lund Bergner
The harmonium is the steadying presence in “External Cabinet” by Yiva Lund Bergner. Amid her sheer, chilling, buzz-saw noise, and fragile splinters of sharp, momentary bursts, and whirligig juts, and rattly percussive overlays, there is the settling calmness of gently speculative keyboard movements. The organ sound provides an underlying drone that in turn serves as a glue for the other constituent parts.
The piece is fully scored for harmonium and electronics, and the score is available for download as a PDF from her website. The detail shown below, from the first page of the score, describes how the percussive elements, as the composition’s title suggests, are the result of using the harmonium casing as an instrument unto itself.
More from Bergner, who hails from Sweden and currently lives in Copenhagen, Denmark, at ylvalundbergner.com.
[ Also tagged live-performance
Also a test run toward a year-end top 10.
What’s on repeat, in estimated relative order of frequency.
Loscil’s Sea Island (Kranky, 2014): Gentle beeps and light burrs, so much happening from so little. I was asked, on Twitter, what this sounded like when I was just three tracks in, and I replied: “like a rainy day after the Singularity.” Many days of listening later, it still does.
Stafford Bawler, Obfusc, and Grigori’s Monument Valley (Original Soundtrack) (ustwogames, 2014): The score to the beautiful “casual” game is the perfect backdrop for a game that is itself only slightly more active than wallpaper.
Gavin Bryars Ensemble’s The Sinking of the Titanic (Recorded Live on 2012 Centenary Tour) (GB Records, 2014): A live performance of a work that always felt like a studio concoction. Listen as a band continues its performance even after the ship goes down.
Grouper’s Ruins (Kranky, 2014): Haunting, at times willfully unintelligible, dirges.
Michel Banabila and Oene van Geel’s Music for Viola and Electronics (Tapu, 2014): A lovely duet for complementary toolsets, one analog, the other digital. It’s to the album’s credit that it isn’t always clear where one of those ends and the other begins. One track, “Dondergod,” gets a bit intense, in a European free improvisation sort of way, but the rest is elegant as could be.
This post first appeared in the Disquiet email newsletter: tinyletter.com/disquiet.
A #dense #textural work by Jay Lin with the heart of a swarm
In a compact parallel to micro-fiction, liner notes have not so much gone away as been reduced to bare essentials. Liner notes more often than not these days take the form of a complementary blog post, or a brief text accompanying a track posted online, or — in the perhaps most constrained format — just a series of tags. Such is often the case with Alarm Will Sound, the highly regarded chamber ensemble, which regularly posts performances it does of works outside the standard chamber literature. Not that standard chamber repertoire is its modus operandi. This is the group that made its name initially with an album of Aphex Twin covers. The group’s SoundCloud page gives a false impression of its activity. The “spotlight” section up top focuses on music released about a year ago, if not longer. But down below more recent items pop up, including “Half-Glimpsed” by composer Jay Lin. It was posted just today. Recorded live at the Mizzou International Composers Festival on July 27, 2013, it is primarily built around a frenetic series of organized cacophonies. Even the quieter moments early on are antic, with strings and horns playing against each other in a swarm-like manner: individually at their own pace, but collectively forming something spacious and very much alive. And for context, there is just that datestamp and this brief collection of tags:
Track originally posted at soundcloud.com/alarm-will-sound.
[ Also tagged recommended stream