Red trees' daydreaming

Bird musics

claassic 2

Birds

Requiem

Dies Irae

SOLD OUT

It was after hearing Katie Gately's remix of Schemawound back in February - incredibly one of the first pieces of music that she had made - that we immediately began hassling her to do a tape for us.

The result is Pipes, a piece that is both concise and ambitious. A 22nd Century pop song made out of nothing but the massed tones of the human voice, so complex that it took six painstaking months to assemble, but dropkicks the seratonin-releasing pleasure centres of the brain like the most immediate and narcotic of pop hits.

Influenced by Arthur Russell and Gregorian chant, Pipes is a kind of future choral music. In its soundworld, synthesizers have been superseded by lungs, and soundscapes are no longer programmed, but can be projected into the air at the speed of thought.

If you loved Petra Haden's classic 2005 acapella reading of The Who Sell Out, but thought it would be loads better without all The Who bits, then you'll love this. If you love pop music, but hate dumb lyrics, then this is for you. If you've ever felt a surge of energy from the sound of another human singing - whether it's opera or death metal - then this is a substation. This electric is natural and now.

Disclaimer: NO INSTRUMENTS WERE USED IN THE MAKING OF THIS RECORDING.

Praise for Katie Gately:

"You can hear that escalation in Gately's work as you can in Parmegiani's 1990s-onwards work or in Oswald's Plexure and Grayfolded." - Simon Reynolds

"Fantastic bionic structures. Rhythms bob beneath, but are switched around intuitively and with a sense of fun... vocals are layered and stepped up and down in bold, jarring brushstrokes." - The Wire

"...the sound of deconstruction... hinting at pop only to take delight in crumbling from within. Countless timbres and textures jostle within her tracks, either crammed together in a sonic maelstrom, or separated by what feel like blasts of chilled air." - Resident Advisor

“With pure, ethereal vocals poured over an industrial and sluggish beat... sounds like Gately found the hidden door to the intersection of light and shadow, planting her flag solidly at its nexus.” - XLR8R

“On her self-titled debut EP, Katie Gately weaves silky pop vocals and field recordings processed beyond all recognition into cold, abrasive soundscapes.” - FACT Magazine

“Pop music that can’t sit still, is exploding with ideas. Sometimes it sounds overloaded with thoughts, which find literal expression in Katie’s dense Disco Inferno-like lattices of words. But then on other tracks her vocals pull back and space out, disassociating from the rhythms and finding unlikely companions in choirs of pitch-shifted and manipulated vocals – her voice made into marching, chirruping armies of munchkins, automatons, Substance D-stretched friend-apparitions.” - 20 Jazz Funk Greats

"'Pipes' is a vocals-only track, a wonderful piece of ethereal breathing and crystal Pop constructed in what sound like infinite layers of dazzling landscapes, her stunning voice invading each corner of the music." - The 405

"Leftfield Katie Gately creates a weird discordant form of avant-garde Pop that keeps us coming back for more. There’s something within its ever-changing skin that keeps us listening, keeps us guessing and keeps us attempting to unravel the songs and their bewildering construction." - Bowlegs

"Falling somewhere between the icy, high resolution electronic experiments of Holly Herndon and the sunkissed pop of Julia Holter, Gately’s self-titled debut sees her combine her own heavily treated vocals amidst an occasionally bewildering array of sample-based scrapes, cracks and drones that somehow shape themselves into an avant-garde form of pop music, manifesting itself as “Fractured vocalisations, bittersweet harmonies, freaked alien voices all living, breathing in deep fried motherboards of acute computer programming and field sound.” - Juno Plus


blue eight: Katie Gately - Pipes

Arias da ópera A Flauta Mágica de W. A. Mozart em arranjo para grupo de flautas

A Flauta Mágica, W.A. Mozart- Orquestra de flautas da Uece

KARA-LIS COVERDALE (CA) https://soundcloud.com/klissay
PLAY 1 :: DADA SALON 
Friday, May 29 - Musée d'art contemporain de Montréal

Montréal-based musician and composer Kara-Lis Coverdale gives concerts made for full body immersion, multi layered through multi timbral synths, her computer a virtual organ engine. Couched in symphonic, post sacred tonalities and harmonies, the music on Coverdale’s releases Aftertouches (on Sacred Phrases) and A 480 (on Constellation Tatsu) uses virtual sounds from vocal and instrumental sources to confront traditional genres and consolidate them in the artist’s own precise ways. Currently an organist and music director at St. John’s church in Montréal, Coverdale contributed piano and keyboards on friend and mentor Tim Hecker’s Virgins album in 2013 and most recently has collaborated with LXV (musician David Sutton) on their 2015 album, released by Umor Rex. Her live set for MUTEK 2015 draws on that album and recent compositions of pipe organ, sensorial electronics and glittering drones while leaving room for inspired improvisation.

Mastered by LANDR (www.landr.com)

You can also watch THE WIRE SESSIONS with KARA-LIS COVERDALE here: https://vimeo.com/132852323 - Q&A streamed on May 30, 2015 at Phi Centre.

MUTEKLIVE086 - Kara-Lis Coverdale @ MUTEK 2015

https://cassandramiller.wordpress.com/2011/03/13/warblework/

https://itunes.apple.com/ca/album/warblework-swainsons-thrush/id475163576?i=475163593

À chacun sa miniature

Warblework: Swainson's Thrush

Warblework: Swainson’s Thrush - Quatuor Bozzini (2011)

https://cassandramiller.wordpress.com/2006/09/30/orfeo/

A short piece in eight movements. With each movement, I pruned the material so to include what I'd hoped was the smallest amount of information necessary to make each statement. Each movement is loosely based on sections of the opera l'Orfeo, by Claudio Monteverdi (marking 400 years since its first performance).  A theatrical piece with children's toys and dramatic page turning.

Orfeo by Monteverdi by Cassandra Miller (2006)

Alto recorder and live electronics.

Studio recording by Carmen Troncoso and Desmond Clarke.

This piece comprises two of the seven movements of RECORDARI.

oiseaux métamorphique (2017)

I. 2c 
II. Flutter
III. Moments in Love

out 04.28.17 https://boomkat.com/products/grafts

GRAFTS

Oiseaux Domestiques is cycle of poems for voice (speaking/singing and everything in between) and chamber ensemble, about the most commonly-heard birds in urban Toronto. 

These pieces were composed for the Toy Piano
Composers Ensemble in Toronto, for a metal-themed concert, and they all use metallic sounds to capture the timbres of birdcalls. Each piece imitates some aspect of the bird’s vocalizations, while approaching each subject with a different narrative structure, viewpoint and/or mood:

White-Breasted Nuthatches celebrates the (a)rhythmic qualities of the bird’s call, and starts imagining what it might be saying.

Downy Woodpeckers explains why a love-sick bird might hammer on metal instead of wood.

Black-Capped Chickadees meditates on the perils of being a tiny bird in the winter.

European Starlings proclaims the joyful contradictions of these noisy, imitative and sublime invaders.

-------------------
Alex Eddington, speaker/singer
Pratik Gandhi, conductor
Katherine Watson, flute
Anthony Thompson, clarinet
Ilana Waniuk, violin
Adam Scime, bass
Wesley Shen, piano and toy piano
Daniel Morphy, percussion

Premiere performance: April 9, 2016 - Heliconian Hall, Toronto

Recorded by John S. Gray

Warblework: Swainson’s Thrush - Quatuor Bozzini (2011)

Cassandra Miller composer