Lush was written in the Winter of 2016 for Wet Ink Ensemble. This piece was conceived as a hybrid between concert music and orchestral film music. As a composer of concert music, the attempt to draw out new ideas from mainstream film music may seem unusual, however, as I began exploring the possibilities provided by commercial sound libraries, sampler instruments, and synths, I was drawn to the idea of retuning these electronic instruments to create an electroacoustic part that fills out and expands the chamber ensemble into a bigger, richer sound.

The majority, if not entirety, of new film scores are produced using samples along with the occasional sprinkling in of a few live performers to heighten a sense of realism. By creating music in this way, the ideal realization of this score may be as a recording, where the precise level between live and sampler instruments can be completely controlled.

A second impetus for using an electronic part made from sampler instruments is to facilitate the performance of precise microtones through pitch matching. This method has allowed me include unusual harmonies and chord changes since the pitches of the live instrumental parts are almost always doubled in the electronics.

Recorded live on April 29th, 2016, at St Peters Church, New York,  by Wet Ink Ensemble with Alex Mincek, conductor. David Adamcyk, recording engineer. Mixed and mastered by Taylor Brook.

www.taylorbrookmusic.com

Lush - for 11 players and electronics (Wet Ink Ensemble)

‘Peak Magnetic’ is the first single from Clark’s forthcoming album ‘Death Peak’, released on 7 April via Warp Records.

Video - https://www.youtube.com/watch?v=QW7mycj9zbw

‘Death Peak’ – http://smarturl.it/death-bleep
Stream ‘Peak Magnetic’ – http://smarturl.it/peak-stream

Clark Live - https://throttleclark.com/live

Peak Magnetic

vintage 2006 crackly 7" dub and reggae mix from the dub.com archives - sunny day daydream sounds!

https://www.dub.com/2006/12/21/dubcast-9-mr-whippy-dub-tub/

tracklist 
1. one spliff a day – billy boyo
2. no lolloipop no sweet so version – johnny osbourne
3. no in ting version – anthony red rose
4. come in to my world version – luciano
5. its a shame version – tony curtis
6. ? Miss Know It All by Scientist
7. its a shame vocal – tony curtis
8. ?
9. getto man skank – ranking toyan
10. cry fi de youth – super cat
11. mechanical body –
12. whip appeal – sanchez
13. whip appeal – mafia + fluxy
14. no ice cream sound – johnny osbourne
15. black star liner – u brown
16. no in ting vocal – anthony red rose
17. songs my father used to sing version – denis brown
18. drum song – ken boothe
19. the whip – the ethiopians
20. i just wanna know –
21. -
22. african tears tippa irie??
23. fathers – macka b
24. ?
25. ?

– song my mother used to sing – dennis brown
– drum song – ken boothe
– swing easy – soul vendors – studio 1

Dubcast Archive Mr Whippy Tub of Dub

Banging bass,, out soon on LRR compilation

We Will Rise

A love letter to soundcloud.com/lemonjellyofficial with talky bits nicked from soundcloud.com/nickfranglen (that's why I set this up)

An Experiment in Sound

Antonella are a smooth Jazz & yacht rock quartet from Italy & Ireland based in Cork City, Ireland. 

Find us on Facebook .https://www.facebook.com/antonellabandIE/

Antonella: Ain't No Sunshine (Bill Withers Cover)

Your Nothing To Me

Heavy NeuroFunk track Enjoy!!!!!

<a href='https://theartistunion.com/tracks/379d4d'>Download for free on The Artist Union</a>

Live For Nothing Or Die For Something

Premiered @ ICMC 2021 Santiago, Chile.

This piece is the result of some recent experiments developing a real-time feature driven sampler that listens and responds to live input intelligently. The instrument in question is the Max for Live based Decon device (pictured) that listens to input signals and responds either continuously or depending on the occurrence of onsets (note attacks) or offsets (periods of silence). Using IRCAM’s MUBU toolkit for multimodal analysis, existing collections of audio are loaded and analysed for their timbral and spectral properties. Samples are recombined akin to larger scale granular synthesis based on the best fit matching their timbral/spectral properties to the input signal. The first half of the piece is mostly textural stretches of mixtures of radio recordings and bowed cymbals. The second half features live triggering of the synthesis engine using plucked tenor banjo. Eventually two instances of the instruments are used routed in a feedback loop – autonomously triggering each other in curious back and forth conversations.

Sem Cordas (Stereo)

carthach

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