I'm a Los Angeles area-based violinist and composer. I graduated from the Bob Cole Conservatory of Music at CSU Long Beach in Fall 2014 as a double major in both Violin Performance and Music Composition.

By deathly pale light, silent is the night 🪡

Dan Thorpe is a Performer//Composer based in Adelaide, South Australia.

Influenced by everything from queer punk to American experimentalism to dolewave, Dan Thorpe’s music “decimat[es] the boundaries of genre” [CutCommon, 2016]. His broad base of musical experience is reflected in a curious, experimental and genre defying compositional and performance output linked together by a love of storytelling and sense of irreverence for existing forms. As a composer, his work always has a focus on collaborative, open approaches to composition that stress the importance of performers’ creative input in musical expression. As a performer, his focus is on contemporary Australian repertoire, work by queer and women composers, and multi-instrumental improvisation.

As a composer, Dan’s work has been performed as part of highSCORE Festival [IT], Fresh Minds Festival [Tx, US], Æpex Ensemble’s Soundsystem Takeover  [US, Mi], and he has had works premiered by Ensemble Offspring [AU, NSW], Soundstream Collective [AU, SA], the Australian String Quartet [AU], Kelsey Walsh [US, Ca/DE (Berlin)], and Conrad Tao [US, NY]. As a performer, he has performed around Australia and Internationally [full list], has self released an LP and EP, an EP on 魚 たれ and an upcoming tape on 3BS records. He holds a Bachelor of Music with First Class Honours (Sonic Arts/Composition) and a Master of Philosophy from the University of Adelaide.

In his spare time, Dan likes theatre, tumblr,running, cooking and math rock. He also likes writing about things, and blogs over at danisnotadj sometimes for actual publications like The Lifted Brow. He also teaches at the University of Adelaide, volunteers for peak youth mental health body headspace, and helped found both the South Australian Youth Mental Health Action Group and the Elder Conservatorium Students’ Association.

H. Wakabayashi (composer, sound artist, Singer-SongSleeper)  

Wakabayashi studied Jazz piano at An Music School of Kyoto and then began to work as a MIDI programmer in 2001. Around that time, he began to make experimental laments and music under the influences of ambient and lounge music, pursuing landscapes that show summer and winter at the same time. In 2008, he performed at the Interface Festival in Mexico and then released a split EP on Mandorla. He has also worked as a composer for videos/films and now he is making videos himself under the name "Mewomihi".
       
In search of  in search of total new ways to compose western music he often uses his own original scales "iceface" which inclides lots of microtones.

Wakabayashi was chosen as a  
Soundclouder of the day(3rd April 2012) 
https://www.facebook.com/soundcloud/posts/273175969435496


H. Wakabayashi　
京都のアン・ミュージックスクールにてジャズピアノを学んだ後、Midiプログラミングの仕事を始める傍ら、アンビエントやラウンジに影響されたピアノ曲や実験的な哀歌を作り、冬と夏の香りが混在した世界を目指す。


2008年、メキシコの電子音楽の祭典Interface Festival2008に出場、その後スプリットのＥＰをMandorlaよりリリースし、その後映像作品などにも音楽で携わり、自らで映像を作るようにもなる。

●たくさん曲を置いていますが、いつも全曲聴いていただける状態でもなくて、不定期に試聴可能な曲を公開したり制限したりしています。よかったら時々覗いてみてください

●まったく新しい音楽の表現を目指そうという試みのもと、 Icefaceという独自の音律を用いた作品を多く作っています。 微分音を多く含み、珍しい響きがするかもしれません。

●2012年4月3日、Soundclouder of the dayに選んでいただきました。

https://www.facebook.com/soundcloud/posts/273175969435496

Hi I'm Destti | Music Producer | DJ | Chimney Sweep | Professional Smeller

+ NEW SOUND BY CONCEPT AND DESIGN

A bi-monthly magazine and audio compilation profiling 10 works by 10 young composers and artists; where each piece has been conceived not only with the final sonic result in mind, but also to express or represent some pre-conceived concept or design.

The concepts represented by this selection of works differ vastly: these are works derived from mathematical and visual designs; works informed by and reinterpreting the way we use technology to create music, and the way we use technology to duplicate it; works taking one idea and creating another from that.

Each issue of CNCPTN profiles the concepts and designs behind this type of composition and artwork, providing a platform for composers and artists to display more than just the audio they create, no matter how detailed or abstracted the original stimulus may be.

For more information / further issues / calls for work / downloads visit CNCPTN.com

(contact simon.d.kinch@gmail.com or use the soundcloud dropbox)

Composer | Musician | Performer | Music Educator 🎶
Follow my creative journey through sound exploration.

A native of Pittsburgh and currently residing in the great state of Wyoming, Eric Richards is a versatile and widely performed composer/arranger, conductor, trombonist and educator active in a broad range of musical media and genres. As a composer who defines himself as a “contemporary American eclectic”, he has written music for groups ranging from rural high school marching bands to chamber music ensembles to nationally recognized wind ensembles, big bands, and symphony orchestras. Eric’s work as a composer/arranger and trombonist has been heard worldwide in performances recordings by professional and academic ensembles in major concert venues across the United States, Europe, Asia and India to include: 
• The US Army Field Band and Jazz Ambassadors 
• The USAF Band and the Airmen of Note
 • The US Army Band (Pershing's Own) and the Army Blues 
• The US Marine Band (The President's Own) 
• The US Navy Band and the Navy Commodores 
• The USAF Brass in Blue (Offutt AFB) with guest soloist Joseph Alessi (NY Philharmonic) 
• The National Symphony Orchestra
 • The Baltimore Symphony Orchestra
 • The Boston Pops  Orchestra
• The New World Symphony Brass Ensemble with guest soloist Ian Bousfield
• The University of North Texas Wind Ensemble
 • The University of Nebraska-Lincoln Jazz Orchestra “2.0” and Wind Ensemble 
• The California State University-Long Beach Concert Jazz Orchestra
• The University of Northern Colorado Jazz Lab Band I
• The Hall High School Concert Jazz Band (West Hartford, CT) 

Concert venues include: Carnegie Hall (New York), the Midwest Clinic (Chicago) and the Montreux, Nice, and North Sea Jazz Festivals. Recent engagements as a guest composer, conductor and teacher include residencies or commissions at: 
• Washington State University
• Shanghai Conservatory of Music
• Taipei Jazz Orchestra
• Winona State University
• Wyoming Jazz Educators Big Band
• Yellowstone Jazz Camp 
• Lamont School of Music (University of Denver)
• Metropolitan Jazz Orchestra (Denver, CO)
• The Omaha Youth Symphony 
• The Metropolitan Area Youth Jazz Orchestra (Omaha, NE)
• Colorado Christian University

From 1984 – 2004, Eric served as Composer/Arranger with The United States Army Field Band, the Army’s premiere touring musical organization based near Washington DC. His works for jazz orchestra, wind ensemble, symphony orchestra, and voices were heard by audiences worldwide. He honorably retired at the decorated rank of Master Sergeant (E-8). Eric earned the Doctor of Musical Arts (Composition) degree from the University of Maryland at College Park where he studied with Mark Wilson and Robert Gibson. He holds the Master of Music (Composition) and Bachelor of Science (Music Education) degrees from Duquesne University in Pittsburgh where he studied with John “Doc” Wilson, Joseph Willcox Jenkins, and Matty Shiner. 

A regularly commissioned composer-arranger, Eric is available to answer inquiries regarding commissions. Please note that his production schedule develops as much as two years in advance. To inquire about commissions and explore his music further, please contact him at:
eric@ericrichards.com

November 2010 to April 2013
present day and onward found here https://soundcloud.com/quinn-dougherty

FIRE IS THE FIRST AND LAST LEITMOTIF.

THE WHOLE HISTORY OF THEISM IS A COPING MECHANISM AND SOON MY MUSIC-THEATRE WILL INVENT A NEW RELIGION. 
SUBTLETY IS THE ULTIMATE FACADE AND CHAIRS ARE FOR THE COMFORTABLE. STAY UNCOMFORTABLE. BREAK CHAIRS. 
IN WAGNER IF YOU FALL IN LOVE YOU DIE. 
WHEN JULIET IS SCREAMING ABOUT GETTING LAID AND DYING SHE MENTIONS THAT SHE WANTS TO RIDE MAD HORSES INTO THE SUN ITSELF. 
I LEARNED FROM BELA TARR ABOUT THE SACRED COMEDY OF THE APOCALYPSE, THAT A JOKE COULD BE WRITTEN CONSISTING ENTIRELY OF SERIOUS AND GOOD PHILOSOPHICAL WORKS.
SAPIENTIAL ESCHATOLOGY MY GENERATION'S CULMINATING REDEMPTIVE GESTURE TO TAKE BACK THE PREMATURE FEAR IN NIETZSCHE'S THE MADMAN.
IT IS OF UTMOST IMPORTANCE THAT BARDS AND SOOTHSAYERS ARE WILLING TO DENY OR OTHERWISE UNDERMINE THEIR OWN DIDACTIC ENTITLEMENT. 
(THEATRE OF NO CHAIRS MEANS NO HIERARCHY. CHAIRS ARE A COMFORT ZONE. A SUBMISSION TO FOLLOW. TO LET OTHERS DO THE WAKING FOR YOU.) SCREAM AT THE LIGHT

SCHEME TOWARD THE PLANLESS. 
ARCHITECTURE TOWARD NONSENSE.

THE IDEA IS THAT THE FRIAR LOVES THE WOLF LIKE DODD LOVES FREDDY QUELL.
CONCERNING WITH THE PRIMORDIAL NECESSITY OF HUMAN NATURE, THE BEING OF THE STORM. 
IN BLADERUNNER THE REPLICANT SHOWS US BYRONICISM WITH A KIND OF HUMILITY THAT IS INEVITABLE AND A KIND OF INEVITABILITY THAT IS HUMBLE.
I AM CONCERNED RATHER WITH THE STORMFIGHTER'S TRAUMATIC BATH IN THE UNCANNY. 
THE MIND OF THE ROMANTIC IS THE GAZE OF THE SUBLIME.

THE SECRET IS THAT EMERSON UNDERSTOOD STARDUST THEORY; ON BEING ASKED WHENCE IS THE FLOWER.
THE CAPACITY FOR IRRATIONAL THOUGHT IS THE FINAL TRIUMPH OF MIND, MAYBE IT HAS TO DO WITH THE FACT THAT IT IS ATOMICALLY COSMIC. THIS IS INEVITABILITY AND HUMILITY. THE DUST TRAVELED NO DISTANCES BETWEEN THE FIRST STAR AND THE LAST BRAIN. BECAUSE OF THIS, I CANNOT FASCINATE WITH THE FIRE AT A DISTANCE, I NEED TO GO UP WITH THE CATASTROPHIC ANXIETY. BEING AWAKE AND UNCOMFORTABLE. 

IN MESSIAEN'S PLAY THE FRIAR LEARNS THE TOTALITY OF GRACE AND IN THE STORM OF TRAUMATIC ECSTASY HIS BRAIN GOES UP IN FLAMES.
MUCH LIKE NIETZSCHE AT TURIN, WHO BY THE WAY HAD AT THAT POINT DONE AWAY WITH CHAOS/ORDER AND FOCUSED THEN ON CHAOS/DIVINE.

THE MIND IS BY DEFINITION A CATASTROPHIC IMBALANCE SO LIGHT UP THE STORM AND BATHED IN THE UNCANNY THE LIGHT THE DISASTER SEE THE IMBALANCE TO ITS END: FIRE, LOVE, NONSENSE, AS SEEN BY THE STORM AS PRESCRIBED BY THE PRIMORDIAL NECESSITY INHERENT IN THE BEING OF THE AWAKE. IF THE ARCHITECT CAN WORK TOWARD GRACE AND THAT ENDS IN THE STORM OF THE GRACE-DEATH, THAT ISN'T BETTER THAN NONSENSE, THE STORM IS IN THE GRACELESS. 

NONSENSE IS THE CATASTROPHIC IMBALANCE, OURS US I, NONSENSE IS THE STORM ITSELF. 

EVERYTHING BEGINS AND ENDS WITH THE INTERNAL THEISM OF BEING. THE IDEA THAT ALL TRANSIENCE AND TRANSCENDENCE IS BY DEFINITION AN ILLUMINATED ILLUSION AFTER YOUR MIND'S TRIUMPHANT CAPACITY FOR IRRATIONAL THOUGHT. 

WITHIN THE PYROTECHNICAL POTENTIAL OF OUTDOOR THEATRE THE SCHEMES COLLAPSE IN THEIR TRIUMPH. 
LIGHT UP THE STORM.

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