Name: Vultures (for strings and percussion) by amandafeery
Duration: 4 min 58 s
Description: performed by Crash Ensemble, and recorded for their album 'Crashlands'.

Svetlana Maraš - Live performance 2019-2020
Cat #: OUS042
Release date: May 12, 2023
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«The nearly infinite improvisational potential in my performances is a result of tweaking the technology, using it in unpredictable ways, musically exploiting it, and maybe even misusing it.» - Svetlana Maraš

Serbian composer, sound artist and musician Svetlana Maraš has spent years developing her unique setup for live performances. Distinctly defining a live performance as an own form of musical practice that is defined by the sculptural potential, rather than reproducibility, she builds live sets as frameworks for musical expression. The core of her performative practice lies in the accessibility of all layers of what a ‘musical image’ at any given point consists of.

Using micro samples, granular sampling and snippets of one to two seconds, Maraš treats her live setup equivalent to an acoustic instrument. Using tablet controllers running a self-built ‘Touch OSC’ interface and pedals, she manipulates and morphs the material with the mindset of a sculptor, while exposing herself to the audience and the room. Her focus lies on the sound itself: musical structure and qualities, and the shape of the sounds projected into the performance space define which turn she might take next. Maraš explains: «I am interested how sounds fills up the room, how they spread, how near or far they are, how ‘big’ or ‘small’ they seem, how they morph and move.» With the set she played from 2019 to 2020, Maraš had reached an extreme regarding the handling and manipulation of micro samples. -OUS is releasing a live recording of this set as deep dive into the possibilities of live sound manipulation.

Svetlana Maraš is composer and artist active in the field of experimental music. Her work, which she presents internationally, encompasses variety of formats such as live performance, electro-acoustic composition, sound installations and works for the radio. She is the winner of the most prestigious Serbian composition prize «Mokranjac», awarded by the Serbian Composers’ Association. From 2016-2021, she was composer in residence and artistic director at Radio Belgrade’s Electronic studio, where she established numerous programs such as artistic residencies, educational courses and most notably, restoration of EMS Synthi 100. Currently, Maraš is Professor of Creative Music Technology and Co-head of Electronic Studio at Hochschule für Musik FHNW, Basel. 
credits
releases May 12, 2023

Music by Svetlana Maraš
Recorded at Il Circolo del Frattempo, Zurich, 2019
Mastered by Manuel Oberholzer
Artwork by Marko Vuleta-Djukanov
Graphic design by Rebecca Morganti-Pfaffhauser

This live set was recorded at Il Circolo del Frattempo, Zurich, a co-production between -OUS and MADAM.

The set was additionally performed at:
HEK, Basel
CAN, Neuchâtel
Galerie Weisser Elefant, Berlin
@svetlanamaras

Svetlana Maraš - 2019-2020-4

live recording from Gen X Festival April 24th 2022, Walt Disney Hall, LA
Voice: Catherine Brookman
Alarm Will Sound
Conductor: Alan Pierson

Recorded and mastered by Daniel Neumann

text: 
1. Art is Art. Everything else is everything else.
2. Art-as-Art. Art from Art. Art on Art. Art of Art. Art for Art. Art beyond Art. Artless artifice.
13. Forms into uniform and formlessness. Style as recurrence.
14. Light as reappearance,dullness. Color as black, empty.
16. Verticality and horizontality, rectilineartity, parallelsim, stasis.
17. Outlines, monotones, blankness, quiescence, premeditation.
19. Matter only to the mind.
20. The strictest formula for the freest artistic freedom.
21. The easiest routine to the difficulty.
22. The most common mean to the most common end.
23. The extremely impersonal way for the truly personal.
24. The completest control for the purest spontaneity.
25. The most universal path to the most unique. And vice-versa.

From “25 Lines of Words on Art Statement” by Ad Reinhardt (permission to use text kindly granted by the Reinhardt estate)

music for people who like art (filmed/recorded at Walt Disney Hall, courtesy of LA Phil)

DM R, composer
Performed Alarm Will Sound

Live at the 2021 Mizzou International Composers Festival, July 29, 2021

My piece is driven by one sound on what Totó la Momposina describes as the music of the old days. The unintended sliding sound in “La Candela Viva” is the relentless perpetual center. This “mistake” sounds like an airy marimba, which interplays and moves around between the tape and instrumental funk sharp attacks while the synth serves as an evolving mysterious drone.
— DM R

I watched them burying me

Performed by the Mornington Singers
Conducted by Orla Flanagan

https://www.morningtonsingers.org/

Three hundred and ten specimens of Mammalia
One hundred specimens of Reptiles
Eight thousand and fifty specimens of Birds
Seven thousand five hundred specimens of Shells
Thirteen thousand one hundred specimens of Lepidoptera
Eighty-three thousand two hundred specimens of Coleoptera
Thirteen thousand four hundred specimens of other Insects
One hundred and twenty-five thousand four hundred specimens in all
- Alfred Russel Wallace (text assembled from “The Malay Archipelago”)

Natural History (SSATB)

Live performance by the National Symphony Orchestra of Ireland at the National Concert Hall, Dublin as part of the Contemporary Music Centre's composer lab event on the 9th January 2023. 
Broadcast live on RTÉ Lyric FM.
Produced and recorded by RTÉ Lyric FM.

-	Title of the piece is a quote by Fernando Pessoa, a Portugese poet/writer. I heard this quote in a French movie by Jean-Luc Godard called “Hélas pour moi” and it struck me in a profound way. 

-	This piece is about the idea of nature reclaiming the earth once humankind have wiped themselves out. 

-	It features various states of growth and takeover as remnants of human-made structures get covered, tangled, choked and destroyed by plant-life.

-	A musical time-lapse culminating in a calm, poignantly beautiful, but ultimately lonely world.

Everything was asleep as if the universe was a vast mistake - 2022

performed by Musarc with
Cara Houghton (flute), Rowan Jones (clarinet), Michelle Hromin (bass clarinet), Andrew Hamilton (violin), Andrew Liddell (viola), Rebecca Burden (cello), Steve Potter (piano).
conducted by Jack Sheen

recorded 2022

PRODUCT#1    Musarc/Sheen

This place is a message... and part of a system of messages... pay attention to it!

Sending this message was important to us. We considered ourselves to be a powerful culture.

This place is not a place of honor... no highly esteemed deed is commemorated here... nothing valued is here.

What is here was dangerous and repulsive to us. This message is a warning about danger.

The danger is in a particular location... it increases towards a center... the center of danger is here... of a particular size and shape, and below us.

The danger is still present, in your time, as it was in ours.

The danger is to the body, and it can kill.

The form of the danger is an emanation of energy.

The danger is unleashed only if you substantially disturb this place physically. This place is best shunned and left uninhabited.

--
Recorded July 1, 2022 by Choral Arts Initiative (Brandon Elliott, director).

The Danger sets the text of the long-term radiation warning proposed by the nuclear scientists of the United States government to inscribe on permanent nuclear waste storage sites. The message is unambiguously foreboding and intensely serious. Since today's written languages may well be unintelligible tens of thousands of years into the future, there have also been many proposals for non-textual ways to communicate this message, via everything from pictographic signs and atomic priesthood traditions to radiation-sensing flora and bioluminescent cats. The solutions I find most evocative and compelling are the architectural ones: irregular concrete thorns, slabs of black basalt, ominous grids of blocks and spikes that point to nothing and lead nowhere. 

With the discordant harmonies, sudden dynamic contrasts, and shifting rhythms in The Danger, I intend to evoke the same feelings as this primally disturbing architecture is meant to convey. Music is, of course, no universal language, despite what the platitudes of our time might assert. But, like the scientists who wrote this warning, I write this piece as a looming monument to the warnings our society must send into the future.

The Danger

live recording @ orgelpark, Amsterdam 03 june 2023

Outline Of A Whisper

As we find ourselves on the cusp of changing seasons, we’re reminded that everything is cyclical, the inescapable fact of endings is what makes life thrilling in the first place; the construction of one thing is so often preceded by the destruction of another. Perfect timing for this fiery Full Moon in Aries, the youngest sign in the zodiac, and who better to provide the sonic narration to this month’s lunation than Baptist Goth. Their gorgeous incantation casts an intricate web of light and dark, a gorgeous tapestry of found sounds and choral, droney, noisy, emo bliss. Long moments of contemplative calm, interspersed with erratic moments of chaos echo the sentiment that we can always burn it up and start again. Everything is impermanent, so savour this enchanted moment. 

Instagram  : @dylan__kerr 
Soundcloud : https://soundcloud.com/dylan-kerr-6
Bandcamp : https://baptistgoth.bandcamp.com/track/i-wake-up-in-the-morning-and-i-cry

Tracklist:
Mortan Feldman - Only  (Joan La Barbara)

Marcin Pietruszewski - modulator (mOPulWM) 

Charmaine Lee - Market Slip

Don Zilla - Full Moon

Hervé Zénouda - There is an object

James Tenney - Harmonium #1

1 hour of Truck backing up sound beep (YouTube rip)

Found construction site sounds

Weston Olencki - Tone Study No. 4

Brandon Labelle + Steve Roden - the path

Singer Pur & Hilliard Ensemble - Vigilia 7 Passion Motets No. 1. Tristis Est Anima Mea

Charles Ives - Study No. 11

Atte Elias Kantonen - Pink_

Christine Groult - La Condition Captive

Untitled Organ Improvisation - Baptist Goth

Organ + Piano Duet with Seán over telegram

Virginia Glee Club - Soon-Ah Will Be Done (arr. Dawson)

pent - uPg_(27.77._87)

Oliver Coates - Raimondas Rumsas

cami alone - senza parole

7038634357 - Perfect Night

Baptist Goth @ SWOON | 29.09.2023

Helen Street contains field recordings made during a trip in 2018 to Australia. 
The piece is available to buy via Bandcamp on a collaborative album with Linda Buckley.

Vultures (for strings and percussion)

amandafeery

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