A recurring process with shifting sound sources and modest production.

And sometimes recordings of songs/improvisations by Anna.

Composer, oboist and visual artist based in York, UK.

Contemporary classical and electronic music.

https://www.instagram.com/des_r_clarke/

Mitch Renaud is a composer based in Victoria BC where he co-directs the concert series of-the-now with Chedo Barone.

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This page is predominantly live recordings - please check out studio recordings here:
https://bekahsimms.bandcamp.com/
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Composer Bekah Simms hails from St. John's, Newfoundland and is currently based in Glasgow after nine years living and working in Toronto. Her varied musical output has been heralded as “cacophonous, jarring, oppressive — and totally engrossing!” (CBC Music), “tough, even gutsy...with a sure sense of original and vibrant colours” (Vancouver Sun), and lauded for its "sheer range of ingenious material, expressive range and sonic complexity" (The Journal of Music.) Propelled equally by fascination and terror toward the universe, her work is often filtered through the personal lens of her anxiety, resulting in nervous, messy, and frequently heavy electroacoustic musical landscapes. Recent interests in just intonation and virtual instruments have resulted in increasingly lush and strange harmonic environments.

Bekah's music has been widely performed across North America and Europe. She has worked with some of the top interpreters of contemporary music internationally, including Crash Ensemble - with whom she is currently an artist-in-residence - Riot Ensemble, Eighth Blackbird, and l’Ensemble Contemporain de Montréal. Bekah has also been the recipient of over 35 awards, competitive selections, nominations, and prizes, including the 2019 Barlow Prize and the 2023 JUNO Award for Classical Composition of the Year. The resulting work from the Barlow Prize, "metamold," was nominated for the 2022 Gaudeamus Award. Works from her debut album “impurity chains” were nominated in both 2019 and 2020 for the JUNO Award for Classical Composition of the Year. Her music has thrice been included in the Canadian Section's official submission to World Music Days (2016, 2019, & 2021), and in 2016 the CBC included her among their annual 30 hot classical musicians under 30.

Bekah is a Lecturer at the Royal Conservatoire of Scotland, following previous academic positions at the University of Toronto and University of Western Ontario.  Her principal teachers during academic studies were Gary Kulesha and Andrew Staniland, alongside significant private study with Clara Iannotta and Martin Bédard.

Sound Artist, Noise Fanatic, Amp Worshiper,
Environmental Experimentalist, Music Composer:
(installations and ensembles or soloists
(with or without electronics [and/or computers])

and/or self as solo performer
(viola, guitar, objects, percussion, voice, electronics));

writer, researcher, educator;

Experimentalist exploring spatial listening, phenomenologies of temporality, and interaction with information and instruments in everyday life and dreams.

themes include:
{morphology, pattern formation & recognition
(plant, animal, weather, water, mineral)},
{phenomenology (visible & invisible, temporality, real and unreal situations and circumstances)},
{environments (ecology, interactivity)},
{(pre-) history (& post-)};

Brian Harman (b. 1981) is a Canadian composer, teacher and writer whose music has been described as “three-dimensional, maybe four-dimensional” (Arthur Kaptainis, The Gazette) and “effective and chilling” (Richard Todd, Ottawa Citizen). Harman’s music is frequently inspired by extra-musical elements, such as architecture, human speech, modern dance, technology and concepts of ritual. He has collaborated extensively with artists in other disciplines (performance artist Nina Arsenault, choreographer/dancer Geneviève Bolla, visual artist Danilo Ursini), and has written for a wide variety of media: orchestra, wind ensemble, choir, chamber ensembles, song cycle, opera, solo piano, theatre, modern dance, film and live electronics.

In 2013, worked closely with Georges Aperghis on a new percussion trio at Austria’s Impuls Festival, and was a featured composer in the SOUNDLAB podcast series. His orchestral work Supposed Spaces was selected as part of Canada’s 2013 submission to the ISCM’s World New Music Days, and was a winner in the 2012 SOCAN Foundation awards. In 2011 he was a winner in ISCM’s International Vocal Music Competition, resulting in a commission from Vienna’s Wiener Jeunesse Kammerchor, and received an honourable mention for his work Gregarious Machines in the CLC’s 60th Anniversary Composition Competition. In 2009 he was a finalist in the Tokyo Kosei Wind Orchestra Composition Competition. He toured Canada with the Ensemble Contemporain de Montréal+ as part of their Génération 2008 program, and in 2004 he was a finalist in the Toronto Symphony Orchestra’s New Creations competition.

Harman’s music has been performed across Canada, the US, England, Austria, and Japan, and by such ensembles as the Tokyo Kosei Wind Orchestra, New Music Concerts, Nouvel Ensemble Moderne, Ensemble Contemporain de Montréal+, VivaVoce Montreal, 5-Penny New Music Ensemble, and Codes d’accès. He has also collaborated with various festivals and organizations: he is part of the creative team for Nu:Nord (Montreal/Oslo), was a visiting artist for Cluster Music and Integrated Arts Festival (Winnipeg), and was a guest artist and lecturer for the Montreal Contemporary Music Lab 2012. He has developed youth composition workshops for Conservatory Canada and the Ottawa Chamber Music Society.

Harman received his Doctor of Music (Composition) from McGill University in 2012, where he studied music-architecture relationships in his dissertation. Among his composition teachers are Denys Bouliane, Brian Cherney, Larysa Kuzmenko and Chan Ka Nin. His research focuses on 20th/21st Century Canadian m­usic, especially that of Ana Sokolovic and Claude Vivier. His analysis of Sokolovic’s Géométrie Sentimentale was published in Circuit in February 2013. He has taught extensively as a sessional instructor, teaching assistant and private theory/composition teacher.

Harman is an associate composer with the Canadian Music Centre, and has participated in various international workshops and residencies, including Impuls (Graz, Austria, 2013), Ostrava Days (Czech Republic, 2011), Rencontres de Nouvelle Musique (Domaine Forget, 2007) and the National Arts Centre Composers Programme (Ottawa, 2006). He has received grants for his compositions and research from the Canada Council for the Arts, the Ontario Arts Council, the SOCAN Foundation, the Conseil des Arts et des Lettres du Québec, and the Fonds de Recherche sur la Société et la Culture.

Current commissions include an extended work for chamber orchestra for the Glenn Gould School New Music Ensemble (Toronto), a flute octet for Ensemble de Flûtes Alizé, an extended work for Montreal’s Ensemble Paramirabo, a multidisciplinary performance art piece with Nina Arsenault and Danilo Ursini, and a large-scale vocal composition-research project spanning several works.

Updated May 2013

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