Composition for Cello, Chamber Ensemble, Inverted Equilibrium Sonic Pendulum, Exocyclic Trumpet in B flat, Schilke b3l Tunable Beryllium Bell Trumpet, Elliot Easton SG Custom OHSC Electric Guitar, Zildjian 22″ C2 Gong / Cymbal, LP Galaxy Giovanni Tumbadora, Retrosium Flute and ROLI Seaboard Grand.

From the performance notes/depiction of the Inverted Equilibrium Sonic Pendulum and the Cello:

We have executed a control method for maintaining an inverted pendulum in the unstable equilibrium position. This application is a classic lesson in control science, frequently utilized in ballistic guidance.  In the case of the Cello,  the proportional-integral-derivative (PID) method was implemented in LabWindows and intndulum with test mass. Once optimal parameters for the algorithm were established, trials were conducted in which individual gain constants were varied while controlling string and bow pressure to observe changes in instrument behavior.

When applying bow pressure, vector fields can have several special points: a   stable point, called a sink, that attracts in all directions (forcing the concentrations to be at a certain value), an unstable point, either a source or a saddle point which repels (forcing   the concentrations to change away from a certain value), and a limit cycle, a closed   trajectory towards which several trajectories spiral towards (making the concentrations   oscillate).   

Repostulate in a alternative tablature system;  topological models of morphogenesis.




"Neural Intervals And Barium Infused Automatons" (2014)

The High (Full Mastered Edition)

Tracklist here: http://www.mixesdb.com/w/2015-01-02_-_Floating_Points_%26_Four_Tet_@_Plastic_People_Closing_Party,_London

Over the past 8 years or so we have had, along with Theo Parrish, the honour of playing the monthly residencies at a small basement club in Shoreditch, London with an impeccable sound system. After 20 years of operation, it was time to move on and close the doors on a place that has a lot to answer for in shaping modern club culture. To say this space along with the owner Ade’s singular vision was fundamental in our personal musical formation would be a complete understatement. 
 
On the day of their closing, manager Charlotte asked us if we’d put the system through its paces for the last time that the club would be open to the public. We set about packing the anthems from our respective residencies and on the night once the people were through the doors played 2 records in turn for the rest of the dance. We included tracks of our own and of friends that were made with that place in mind. Records like Daphni - Ye Ye and Four Tet - Pinnacles were made to first be played at Kieran’s nights there, and the Floating Points - Vacuum EP was born out of the CD-R night at the club, and its launch party was the trigger for Sam’s monthly residency.
 
We set this recording up just before the start of the night and unfortunately it distorts in places, but we make no apology for how joyfully noisy people get! The vibe in the room this night was typical of the club on any given night and we hope this recording captures just a fraction of the spirit of a Plastic People night.
 
A massive thank you from us to everyone that has come down to the nights over the years and supported our music there. We are truly humbled to have shared the music we love with people at this place, and your energy in turn has influenced the way we make music on an unfathomable scale. We also thank the bosses Charlotte Kepel and Ade Fakile for inviting us to the club and having faith in us over  these years! All the best for the future!
 
 
See you in the dance
 
Much Love 
 
Sam &amp; Kieran

Floating Points & Four Tet - Final Plastic People 2 1 2015

This piece is an attempt to combine instruments that have rarely been combined, if at all, especially in chamber music. Much of the melodic and harmonic content is based on Blues scales, as well as chords, grooves, and inflections common to that style, while also drawing heavily on contrapuntal textures, as well as improvisation.

Die Bedrohung with Transient Canvas

This piece was written for my masters thesis. It features Ken Thomson on Soprano Sax, Peter Hess on Alto Sax, Ed Rosenberg III on Tenor Sax, and Jay Ratman on Bari Sax. It's the second of three movements. This piece was written for my wife Chelsea.

FOR YOU

"Grace Riders on the Road".
full-length CD/cassette, 10 tracks
release date: October 12, 2012

edition of 300 cds and 50 cassettes. To purchase, paypal $11 for tape, or $13 for CD (both postage included) to cohenkayla@gmail.com, and send an email with your paypal name/address. To purchase an mp3 download send $7 and an email. Purchase of a tape or CD automatically comes with a download link, if you'd like. If you are international send me an email for a shipping quote. 

music written and recorded by Kayla Cohen in Brooklyn, NY and Los Angeles, CA. Mastered by Sean McCann.


Marcy Rain

Performed August 8th, 2018 at Vermont College of Fine Arts by the Talujon Ensemble. 

"The purpose which guided him was not impossible, though supernatural. He wanted to dream a man; he wanted to dream him in minute entirety and impose him on reality. This magic project had exhausted the entire expanse of his mind; if someone had asked him his name or to relate some event of his former life, he would not have been able to give an answer. This uninhabited, ruined temple suited him, for it is contained a minimum of visible world; the proximity of the workmen also suited him, for they took it upon themselves to provide for his frugal needs. The rice and fruit they brought him were nourishment enough for his body, which was consecrated to the sole task of sleeping and dreaming."

Circular Ruins

mp3 download: bit.ly/163OIe3



gangglass@gmail.com

Circular Ruins

Carl J. LaMark

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