Excerpts from "Towards A Frontier" by Richard Skelton, released in December 2017 by Corbel Stone Press

Richard Skelton ~ Towards A Frontier

Aaron Martin’s album "A Room Now Empty" sees him returning to the memory-based recordings of previous albums such as "Almond", "River Water" and "Chautauqua", where layered meanings in the music and titles don’t allow a single clear-cut reading of the music.

“A Room Now Empty is similar to the concept of Day Has Ended where Christoph Berg and I created music to encompass the passing of a day, but stretched out for the passing of a lifetime or at least a portion of a lifetime,” says Aaron.

Using cello, electric guitar, bass, roll up piano, banjo, concertina, acoustic guitar, voice, ukulele, singing bowls and lap steel, "A Room Now Empty" keeps the same intimacy and directness of Aaron’s previous albums, with a slightly more processed sound creating distance within the music.

All music by Aaron Martin

cello, electric guitar, bass, roll up piano, banjo, concertina, acoustic guitar, voice, ukulele, singing bowls, lap steel

Silent Figure with Landscape LIX by øjeRum

Mastered by Ian Hawgood

www.preservedsound.com

Anticipation of Loss

produced by : @christinavantzou @john-also-bennett
label : @shelter-press
release date : 15 February 2018
buy : https://shelterpress.bandcamp.com/album/thoughts-of-a-dot-as-it-travels-a-surface

https://bizaarbazaar.com/2018/02/13/premiere-cv-jab-zin-taylor-large-suess-plant/

Thoughts of a Dot as it Travels a Surface

CV & JAB – Zin Taylor -  Large Suess Plant

Intertwined Distances (2018)
Solo Harpsichord and Electronics (quadrophonic)

commissioned by and written for Mahan Esfahani
Premiere: March 2018, Madrid, Fundación Juan March
http://www.march.es/musica/detalle.aspx?p5=100310
Recording: Live radio broadcast 

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Some words about the piece: 

Distance, Movement, Silence, Perception, Paradox, Continuity...

According to Merriam-Webster, distance is a separation in time, an extent of advance from a beginning; and in mathematics it refers to the degree or amount of separation between two points, lines, surfaces, or objects.

In this piece I am exploring the qualities of various dimensions of ‘distances’.
The piece opens perceptual spaces and plays with the listener’s perceptions. It is an observation of how the sound moves and travels within the concert hall, of the distances between the performer on stage and the audience, and of the relationships of both with the quadraphonic speakers. On another level, it explores the phenomena of distance in time (the centuries- old harpsichord being placed in a modern environment) and distance between people (geographically, emotionally, etc). Our daily life is made of these intertwined distances, which are constantly in movement and change.

On a personal level, the electronic component comes out of a close collaboration, between Mahan Esfahani and the composer.

The sounds are solely harpsichord sounds, specially recorded for this piece. In association with various filters and processes, the material developed further and gained other colours and qualities.
The piece is an observation of these constant movements of sound and various perceptions of distances – and of ultimately how all these unite and convolute by twining with each other.

Intertwined Distances (2018)

Babak Sepanta - Breathing Is Born From Water

Nicolas Wiese creates works in a wide range of formats and media, for various contexts: installation and spatial performance, contemporary electronic composition, relational and improvised music, graphic art, drawing, collage, radio and experimental film. His work testifies to a strong interest in the deconstruction and reconstruction of found images / found sound / quotations from mass media and everyday life – centring on themes of ambiguous perception, contradiction and the suggestive use of images, of mediated communication. Speech, the written word, architecture, complex abstraction and refraction of nostalgia all play important roles in Wiese’s aesthetic output. His stop-motion collage video techniques give rise to pieces rich in detail and layers, which play with opacity and transparency, and often with the perception of time.
In his sound works and electroacoustic compositions, Wiese primarily uses short fragments of acoustic source recordings, which are then collaged, layered and processed to different degrees of recognition. These techniques, following the Musique Concrète tradition, are augmented by the adept use of sample-triggered polyphonic feedback modulation and great attention to crafting a highly spatial listening experience.
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Nicolas Wiese - Nemishenasamash 1   (4'48)

composed and mixed by Nicolas Wiese at Quiet Cue, Berlin 07/2020
 
sampled friends:
Mahboubeh Golzari - singing
Rouzbeh Motia - santour
Elisabetta Lanfredini - whisper

Nicolas Wiese - Nemishenasamash

MARION - EYESIGHT/ Live Set/ Rework/ Exodus Music/ Long Playing record/ Pre-Master ver.

This piece was played live every night in the last part of the performance; with different timing and improvisations.

DANTON's Death / 2nd Part: MARION/ Theatre performance.
Based on Georg Büchner's script.
Co-operative Project with 'IS' Theatre Group.
Performed in Tehran/ Iran. 2019-2020
Cover Calligraphy: Zoha Asgharzadeh

Sound/ Music: vehut (Hani Abdolmagid)
2020

vehut - MARION - EYESIGHT (Exodus)

MARION/ Her Room's Ambient/ Live Set/ Snippet/ Pre-Master ver.

DANTON's Death / 2nd Part: MARION/ Theatre performance.
Based on Georg Büchner's script.
Co-operative Project with 'IS' Theatre Group.
Performed in Tehran/ Iran. 2019-2020
Cover Calligraphy: Zoha Asgharzadeh

Sound/ Music: vehut (Hani Abdolmagid)
2020

vehut - MARION - Her Room's Ambient (Snippet)

Boundary-crossing music & non-Eurocentric narrative - episode 2 (Rojin Sharafi)

this blended edit features two snippets from the forthcoming TONUS release "Modulation Grid II": first half features a snippet of the original recording by TONUS (featuring Dirk Serries and Martina Verhoeven) and the second half features a snippet of the 30minutes reconstruction by A-Sun Amissa.

read more: https://www.midirarecords.com/release/md-092-tonus-modulation-grid-ii/

Modulation Grid II

TONUS X A-SUN AMISSA - Modulation Grid II (Blended Edit)

Parsa Shomali is a Composer and Sound Artist from Tehran, Iran. He is a M.A. in Composition and Musicology and he had the experience of studying at Tbilisi State Conservatoire, The Grieg Academy in Norway and The University of Music and Performing Arts, Vienna. He studied Composition with Professors Daniel Biro, Maka Virsaladze and Electronic Composition with Professors Karlheinz Essl, Reso Kiknadze and Tijs Ham. Shomali is a selected composer of numerous festivals and competitions such as ICMC 2018, Seoul International Computer Music Festival 2017 and 2019 and his pieces are included in various compilations such as "Iran's Best Electronic Music Producers in 2016" in "Sote Boiler Room London" and “Girih: Iranian Sound Artists” Published by “Opal Tapes”.
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پارسا شمالی٬ آهنگساز٬ طراح صدا و بداهه نواز متولد تهران است. او فارغ التحصیل کارشناسی ارشد در رشته ی آهنگسازی و موسیقی‌شناسی از کنسرواتوار تفلیس بوده و تجربه ی تحصیل در آکادمی گریگ در نروژ و دانشگاه موسیقی و هنر های نمایشی وین (mdw) اتریش را در کارنامه ی خود دارد. وی همچنین موفق به دریافت بورسیه کامل از اتحادیه اروپا برای تحصیل در دانشگاه موسیقی و هنر های نمایشی وین و بورسیه از طرف پروژه ی پژوهش هنری اوراسیا برای تحصیل در آکادمی گریگ شده است. شمالی آهنگسازی را نزد پروفسور دنیل بیرو٬ ماکا ویرسالادزه و آهنگسازی الکترونیک را نزد پروفسور رسو کیکنادزه٬ تایس هَم و کارلهاینز اِسل فرا گرفته است. آثار شمالی در فستیوال ها و مسابقات مختلفی به عنوان آهنگساز منتخب در کشور های مختلفی اجرا شده است که از مهم ترین آنان می توان به فستیوال بین المللی موسیقی کامپیوتری سئول ۲۰۱۷ و ۲۰۱۹، کنفرانس بین المللی موسیقی کامپیوتری ۲۰۱۸ و فستیوال بورئالیس ۲۰۱۹ اشاره کرد. همچنین آثار وی در آلبوم ها و مجموعه های مختلفی منتشر شده است.

Parsa Shomali - Sancta Sanctio Pt. 2

Anahita Abbasi’s music has been described as “a dizzyingly sophisticated reverie, colorful and energetic. It embodies tremendous timbral exploration and multilayered performance gestures”… (Classical Voice America and A Cunning plan). 

According to Guardian …”She takes even a more radical line with creating dense and pulsing textures”… “Her music has the capacity to immerse the hall into a dark multichannel throat and hissing” … (Bachtrack) 

Volkskrant describes … “the Iranian Anahita Abbasi, shows herself to be a composer with guts in the two-year-old Intertwined Distances Alienating whistling noises and furious fistfights with the keyboard, alternated with delicate strings, lead to a theatrical listening experience” ...

Ernst. M Binder also writes: …“As it is also vivid from the titles of her works such as Dialogues, Situations, Distorted Attitudes, she investigates and gesticulate thoughts and emotions. It is manifestation/ observation of a scene or multiple scenes, which occur simultaneously. She has the tendency to take us with her music on a mystical, puzzling journey and leave us within our thoughts, to find out the “ending” ourselves”… 

About her piece for Mahan Esfahani Boulezian Blogspot writes: …” There was, without doubt, an extraordinarily inventive musical imagination at work, but it was never merely invention: it was a sonic and instrumental drama that seemed somehow to summarise, to extend, and quite properly to question many of the tendencies we had heard so far”…

Anahita Abbasi’s music has been commissioned and performed by distinguished soloists and ensembles such as Mahan Esfahani, Steven Schick, Vimbayi Kaziboni, Rebekah Heller, Sergej Tchirkov, Artyom kim, Ensemble Modern, International Contemporary Ensemble, UmeDuo, Klangforum Wien musicians, Wavefiled Ensemble, San Francisco Symphony Youth Orchestra, Disonart Ensemble, Platypus Ensemble, Quatuor Diotima, Mivos Quartet, Argonaut Quartet, Tak Ensemble, Schallfeld Ensemble, Zafraan Ensemble, Contemporaneous, Blaue Reiter, Off Spring Ensemble, and has been showcased at festivals all around the world among which: Mostly Mozart Festival, The Kitchen, Kennedy Center, Lincoln Center, Niefnorf, Soundnow Festival- Bent Frequency, Roulette, National Sawdust, Mise -En festival (USA), Darmstadt Ferienkurse (Germany), IRCAM – Manifeste Academy (France), Matrix –Experimental studio des SWR, Alte Oper (Germany), BIFEM (Australia), Klangspuren Schwaz (Austria), Sound State festival (Southbank Centre, London), Tectonics (Glasgow), Akademie der Künste (Berlin), United Berlin, Klang Festival (Copenhagen), Tage Neuer Musik, Open music (Austria), Omnibus Ensemble (Uzbekistan), Contempuls (Prague), Tangram Trio (Switzerland), Tongyeong International Music Festival (Korea), neuverBand Ensemble (Switzerland), Ensemble Kollektive (Germany), Acht Brücken Festival (Cologne), Impuls Festival (Austria), Time of Music (Finland), Atlas Festival (Netherlands), Grachten Festival (Netherlands), duo Verso and Bilitis and many others.

Ms. Abbasi has received several awards, including a work-scholarship from the Experimentalstudio des SWR, Freiburg (2014), a Morton Gold ASCAP young composers award (2015), a nomination for “women composers of our time” (2017) as well as the composition prize of the Acht Brücken Festival (2020). In 2022 she has been awarded the Civitella Ranieri Fellowship in Italy and UCROSS Foundation residency in Wyoming. 

Aside from teaching composition, giving lectures and curating workshops on fundamentals of creation, and serving as a juror at composition competitions, she is also a founding member of Schallfeld Ensemble in Graz, Austria as well as IFCA (Iranian Female Composers Association) in the USA, New York..; where she is curating concerts, workshops, conferences, creating platforms and advocating for young composers and acts as their ambassadors in presenting their music to others. 

Anahita Abbasi (world citizen-1985) was born and raised in Iran. In 2005 she moved to Austria and pursued her undergrad at the University of Music and Performing Arts Graz, where she studied music theory with Clemens Gadenstätter and Christian Utz & composition with Beat Furrer and Pierluigi Billone; while working closely with Georges Aperghis, Franck Bedrossian, and Philippe Leroux. In 2014 she moved to the US to pursue her Ph.D. degree in Composition with Rand Steiger at UC San Diego.

Currently, Abbasi is residing in New York and in Paris, where she has been awarded a three-year-long residency with Fondation Singer Polignac and Ensemble Le Balcon (Paris, France). Her upcoming projects are commissions from ensemble “der gelbe Klang”, Kommas and New Babylon, Podium Esslingen, and Ensemble Modern for Darmstadt 2023.

Intertwined Distances (2018)

Anahita Abbasi

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