This is terrific, great climax! Has this been graded? That way I can tell my band folks to take a look.

and these things takes an early 8-bit recording of me speaking as a little girl. It documents my outpouring over an injustice I faced at playgroup and the resolution I eventually came to. This was an account of very real sadness and struggle, finally resolved and released with ‘and those things are better for me’. Despite my young self’s upset, there was a curious strength in the early willingness to share and let go; an innate emotional freedom worth reconnecting with. 

Orkest de Ereprijs in Apeldoorn, The Netherlands - Spring 2020

and these things

Copy was an attempt to cram a large amount of material and sense of larger-scale development into a very short piece, and also a way to see how far I could push Grains as an ensemble without descending into wank territory. The title describes several aspects of the piece, including my initial method of pitch generation, which was to map the midi version of the drum part onto a pitched synth, and my treatment of motives as fixed blocks of material that recur essentially verbatim.

Copy

Me covering "To the Teeth" by Ani DiFranco, a song from 1999 that will always be relevant till politicians do something about the obvious gun problem that is a cancer to US Americans. 

Performance at the Bemis Center for Contemporary Arts, Sunday, 5 November 2017, during the Art, Empathy, and Ethos residency.

www.anthonyrgreen.com
Instagram/Twitter/Facebook: @piargno84

To The Teeth - Ani DiFranco cover

Audio from the world premiere of 'in the space that separates' by the Central Dauphin Wind Ensemble and Matt Carraher. 

Commissioned by Central Dauphin, Matt Carraher, Central Dauphin East, and Curtis Glidewell in partnership with Composers and Schools in Concert. For more information, visit: www.chriscresswellmusic.com

in the space that separates (2018)

Stillness invites the act of listening. Life on an island does this, too. Instead of moving through the world, living on a small island gives one the sense of having the world move through oneself. Monica Kidd does this every summer when she travels to her family's cabin on a small island in the Bay of Exploits, Newfoundland. There is no electricity or running water, and the world, except for the water and weather, is very still. "Summer Stillness" is a soundscape from that time and place. - MK

Monica Kidd is a writer and audiophile in Calgary, Alberta. She formerly worked as a reporter for CBC Radio, and for ten years has run a website for found sound called curiaudio.com.

The Deep Wireless 14 Online Album was produced by New Adventures in Sound Art (NAISA) for the 2019 edition of the annual Deep Wireless Festival of Radio & Transmission Art. The contents of the album were curated by NAISA from an international call for submissions on the theme Off the Beat(en) Track.

Editions 9 through 14 of the Deep Wireless Compilation are available on NAISA's Soundcloud site. Previous compact disc editions can be heard online at naisa.ca/media-archive/compactdiscs/

Copyright of the works belongs to the artists who have agreed to have their work on NAISA's Soundcloud page.

Note that Deep Wireless 14 is not available for download. Community and public radio or internet broadcasters should contact NAISA directly for access to the works for airplay. Contact naisa@naisa.ca for more information.

Artistic Director: Darren Copeland
Executive Director: Nadene Thériault-Copeland
Image Illustration: Prashant Miranda

Deep Wireless 14

Deep Wireless

Monica Kidd - Summer Stillness

Between a Gunshot and a Whisper
by Maria Chavez
Special Contributor: Jordi Wheeler (Intro organ)
https://soundcloud.com/idrojojirdrijdr
42:12
The auditory space between a gunshot and whisper is brought into play through dissected records of sound effects from around the world, which were originally intended for radio playback in the 1960s. Between a Gunshot and a Whisper makes use of forgotten samples, compounding them into vignettes of abstract histories of sonority.

Between A Gunshot And A Whisper- DOCUMENTA 14, 2017 by Maria Chavez feat. Jordi Wheeler

progressively smaller TVs

Altitude is an album containing the three physical point in the world and the the sound of the transport which take us there.
1. 'Green Car' creates the scenario of being grounded on land.
2. 'Underwater Tricycle' is an exploration of being underwater at a negative altitude.
3. 'Helicopter HoverFly' addresses the feeling of flying in the sky.

1. Green Car

Alex Temple, All We Could See From the Window was Water (2019–20)

William Lang, trombone
Anne Rainwater, piano
Live at Maybeck Studio, Berkeley, CA, 1.12.20

More info:
http://www.alextemplemusic.com/2020/01/awcs/

All We Could See From the Window was Water

Ruins was created during the Jerwood Arts Bursary research and development project "The Female Creative Voice" and explores the concepts of erosion and disintegration in regards to the work of French 19th century composers Clémence de Grandval (1828 - 1907), Marie Jaëll (1846 - 1925), and Augusta Holmès (1847 - 1903). 

For more details on the project, see here: https://www.chloeknibbs.com/ruins/

Supported by Jerwood Arts and Sound and Music's Francis Chagrin Award. 


Credits:

Composition - Chloe Knibbs https://www.chloeknibbs.com
Clarinet/Piano - Chloe Knibbs
Voice - Suzie Purkis - https://www.suziepurkis.co.uk/

Mentor - Rene Morgensen - https://bcu.academia.edu/ReneMogensen
Mentor - Elizabeth de Brito (Daffodil Perspective) - https://thedaffodilperspective.com/

Artwork - Ben Jones - https://penjones.co.uk/

Ruins

Their Eyes Are Fireflies (concerto for tenor trombone and wind ensemble)
[2017]

Mvt. 1 – Beginnings
Mvt. 2 – This song makes my heart not hurt 
Mvt. 3 – Izaak's Control Panels

Performed by: Tim Conner, soloist; Robert Carnochan, conductor; University of Miami Frost Wind Ensemble

Commissioned and premiered by a consortium of wind ensembles and trombonists led by Ava Ordman and the Michigan State University Wind Symphony, Kevin Sedatole, conductor.

Program Note:

I often wonder what it’s like to see the world through the eyes of my children. I have two sons, Declan and Izaak, and, at the time of writing this piece, they were ages two and four, respectively. The title, Their Eyes Are Fireflies, is a metaphor for the magic and joy they bring to my life. The light in their eyes—both the way in which they take in the world with wonder and amazement as well as the way they add light to the world with their innocence and joy—has shaped and changed my perspective in profound ways.

For Declan, at age two, there are so many beginnings, so many firsts, so many discoveries, and so many adventures. The first movement begins with an extended trombone cadenza in time, building from the foundations of the instrument into increasingly accelerating, ascending, and ecstatic waves and surrounded by distant echoes and a halo of dimly twinkling lights. These waves finally burst, revealing a distorted image of the beginning—cascading waves of sound that finally come crashing down like an overgrown tower of toy blocks.

The second movement, This song makes my heart not break, is for Izaak. One day he said this exact phrase, and its simplicity and directness stopped me in my tracks. For me, this very unadult-like turn of phrase contained something special—both a recognition and admission of pain but also a turning toward healing. This music is my humble meditation on Izaak’s words.

The third movement is entitled Izaak’s Control Panels. Izaak loves to draw and paint. One of Izaak’s favorite subjects has been ever more fantastical control panels. We have piles of these controls panels in our house, carefully created using pencils, pens, markers, and paint on sheets of paper of varying sizes and colors. These control panels are connected to airplanes, race cars, boats, helicopters, and even strange, imaginary machines that he’s created both in his imagination as well as with Legos. What’s more, the panels often contain gadgets and gauges for unusual and awesome purposes, including to measure the level of mint chocolate ice cream (his favorite flavor), chocolate milk, pasta, as well as typical things like speed, altitude, and fuel. This music comes from looking at the world through the creative and surreal lens of a four year old—motoric, machine-like music for building imaginary worlds is disrupted by the playful smashing, destruction, and recreation of those worlds, culminating in a spectacular and bizarre place where time flows backward, objects fall up rather than down, and airplanes come with milkshake gauges.

Their Eyes Are Fireflies

Praised for his “bold, original, and attention grabbing” sound world that blurs the lines between ambient, noise, electronic, and classical music, Chris Cresswell is an internationally recognized composer, sound artist, and guitarist. His award winning music has been performed in local cafes, art museums, universities, and world class concert halls around the world. He built a sound installation for the UK’s largest indoor rainforest biome at The Eden Project in Cornwall and once premiered a piece in an abandoned local cinema high atop the remote island cliffs of Madeira, Portugal. He is currently the artistic director and guitarist of 315 Ensemble and released his debut album on Ravello Records with 315’s eponymous release in March 2018. He is currently working on completing a follow up solo record as part of his With Electronics project, featuring the electric guitar and electronics. The 2018-2019 season will include  new compositions for trumpet, soprano, and electronics for the Byrne:Kozar:Duo, which is scheduled to premiere at the DiMenna Center in New York City in April 2019 and a new work for glissando flute and electronics for South Dakota based flutist Tammy Evans Yonce.

in the space that separates (2018)

CresswellMusic

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