Maybe Jacob... V [for Piano]

Maybe Jacob... VI [for Prepared Piano]

Maybe Jacob... VII [for Piano]

Paal Nilsson-Love plays a solo set at OPTION—ESS's weekly music salon.

September 7, 2015.

Recorded & mixed by Alex Inglizian.

Photo by Dan Mohr.

bit.ly/ess_option

OPTION: Paal Nilsson-Love

Much has been made of the nesting compulsion that overtakes expecting parents. It’s fair to suggest that this album owes its name to the fact that Asheville NC residents Tashi Dorji and Shane Parish were both looking forward to parenthood when they made it, and not much of a stretch to say that it expresses something that they both had to say before the babies arrived. 

That message is one of two guys bonding over shared understandings. They’ve been known each other for over a decade, during which time they’ve played both as a duo and as parts of larger ensembles. Both play guitar, and while their discographies map quite disparate interests, they share a devotion to the guitar as a vehicle for improvisation. The eight improvisations that make up Expecting grow out of a dynamic of sharing — one fellow shows up with a tuning and maybe a string preparation, the other works out a response, and out of that comes not only a piece of music but a renewal and confirmation of a relationship in which two humans share what they love. 

Expecting parents tend to be anxious ones. Titles like “Dust Of Dust,” “Storm Sinks Boat,” and “Break Up” give the impression that Dorji and Parish weren’t free from trepidation when they made Expecting, and the record’s discordant moments back it up. Nowadays writers are quick to lay the term experimental music on anything dissonant. But while one could say that this music actually earns that much-abused term because it comes out of a process of proposal and problem solving, an emotionally truer term would be experiential music. It came out of Parish and Dorji’s real time communion, and it is informed by their shared history. For them, making the music was an experience; playing the record imparts a different experience, one of receiving rather than making, but it still expresses a dynamic of exchange. 

Bill Meyer 
Berwyn, Illinois, USA 
January 31, 2016

Tashi Dorji & Shane Parish - Storm Sinks Boats

01 Break Up

The Glass House is a sound installation piece composed by Chicago percussionist Tim Daisy. The piece was written for vibraphone, radios, turntables, bowed cymbals, and bass drum.

This work was commissioned by Experimental Sound Studio for its Florasonic sound installation series, a partnership with the Chicago Park District. The work is installed inside the Fern Room at the Lincoln Park Conservatory in Chicago - March 13th - July 10th, 2016. bit.ly/ess_florasonic

This track is available to purchase for $1.01 from Daisy's Relay Recordings label. http://bit.ly/ess_tdgh


What you'll hear in the Fern Room is The Glass House by Chicago composer and percussionist Tim Daisy. The composition reflects various aspects of the structure of the building itself. It is recorded in four sections that play simultaneously, each supporting the other, much like the metal ribs of the four corners of the Fern Room support the overall structure. These musical sections are of different lengths, so they continuously mix and remix in surprising and unpredictable ways. The instruments, including vibraphone, cymbals, radio and turntables, recall both the materials of the building and its location in an increasingly technologized environment. The Glass House explores the sounds hidden within the Conservatory’s architecture and acknowledges its function as an urban home for botanical diversity.

Recorded at Experimental Sound Studio Chicago by Alex Inglizian


Released April 19, 2016 

SINGLETRACK: Tim Daisy, 'The Glass House'

Cooper Diers - Reeds 
Mike Clinge - Drums
Zak Worth - Keys 

unititled.

zak worth

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