Song idea by TT. Bass by Doug Rehfeldt. Keys by Josh Spiegel . Drums, percussion, and production by TT. 

Cold Queso

1. Pitch Black  - Bird Soul
2. Nicolas Jaar - WOUH
3. Nathan Fake - Fentiger (Clark Remix)
4. Jon Hopkins - Collider
5. Arca - Thievry
6. Liar - Pygmalion
7. Binkbeats - Lovely Bloodflow
8. Gidge - I fell in Love

8 songs taped together

Written for Performance by NOIS at UCR.

Loosely based on the first 4 tablets of the classic Babylonian creation myth Enūma Eliš, this piece explores the concept of how balance and order can be achieved through the collision & fusion of contrasting chaotic elements.

I.   Primordial Waters – The dawn of existence
II.  Stirring of the Deep – The union of primordial forces, Apsu (Freshwater) & Tiamat (Saltwater)
III. Clamor of Creation – The birth of their progeny (in the form of new gods)
IV. Longing for Stillness – Apsu’s desire for a return to the infinite dimension of peace and tranquility
V. Waves Asunder – The events leading to the death of Apsu (signifying the ultimate separation from his lover Tiamat)
VI. Cosmic Ripples – The implications of Apsu’s demise
VII. Echoes of Destiny – The call for a champion to defend the new gods against the wrath of Tiamat
VIII. Divine Assembly & Dance – The convocation and feast of the gods where Marduk steps forth as champion
IX. Storm Clouds on the Horizon – The preparation for battle
X. Gathering of Tiamat’s Army – Tiamat’s assembly of ferocious monsters
X. Battle for Chaos and Order – The epic battle between Tiamat (chaos) & Marduk (order)
XI. Break of Dawn – The downward spiral of Tiamat as she is caught in Marduk’s net and subjected to the same fate as Apsu 
XII. Marduk’s Arrow – The vanquishment of the primordial monster, with an arrow through the heart, ultimately symbolizing order conquering chaos

Incursus In Mundos

Track 5 (11:07)
Psalm of These Days IV for clarinet, reader, and tape (1978)/Edwin London “is a cycle of five works written between 1976 and 1980) for various combinations, approaches, dispositions, and colorations of voices and instruments. Utilizing biblical texts, but loosely inspired, also, by ideas drawn from a reading of William James’ The Varieties of Religious Experience, this network of compositions tries to render, with (one hopes) some irony apparent, a series of religious postures either experienced and/or observed by the composer in a picaresque hejira through and to sundry spiritual states of sorts (from Once-Born Kazoo, Mass. in EVenTs of sham pain, ill and all, as well as Philly Childs-play mantra on the fly to the resurrected vocal bands of Believeland, Oh.--CLAP CLAP.)
Psalm of These Days IV, coming as it does after the turbulence of the cycle’s centerpiece, sets about forming an aura of meditation. The performers are awarded a grand degree of freedom in establishing the extent to which they commit themselves spiritually and/or or musically. Also, the work acts as bridge to the eventual descent back to the ‘public domain’ described in the concluding segment, Psalm of These Days V.” EL

The work consists of a realization of a sheet of suggestions accompanied by a tape provided by the composer. The reader, may, it is suggested, translate the Psalm (47:6) into other tongues and dialects to which Scripture has been translated, in this case, a live performance from 1988, Childs recites sixteen languages other than English. The tape is “manipulated” by University of Redlands Audio Engineer, Scott Vance. The clarinet, instructed to “strike and accord” with the tape, uses random-finger combinations throughout, and circular breathing.
Edwin London has taught at Smith College, The University of Illinois, and, as chairperson of the department of music, Cleveland State University. He studied with P.G.Clapp, Philip Bezanson, Luigi Dallapiccola and Darius Milhaud.

Psalm of These Days IV for clarinet, reader, and tape (1978)/Edwin London

Track 7 (11:35)
Underworld (For clarinet and tape)(1984, 1989)/Glenn Hackbarth “uses text segments drawn from the Cocteau film Orphée. Primarily phrases of abstract poetry, these are sent to Orphée from the underworld by the dead poet Cégeste and broadcast to Orphée on the radio of a Rolls Royce. The remainder of the tape consists primarily of manipulated piano-interior sounds with some synthesized sound as reinforcement.” GH
Glenn Hackbarth teaches on the faculty of Arizona State University in Tempe. He holds a doctorate in composition from The University of Illinois.

Underworld (For clarinet and tape)(1984, 1989)/Glenn Hackbarth

https://open.spotify.com/album/7vyA5KCYxUdV34K4xLhOcF

Shapeless - Crazy Grandma

omega

I discovered wikiloops yesterday and pulled this jam out off my first download. I don't know the other guy's names. All i know is the keyboardist lives in France and the drummer is German. I hope I dont piss anyone off by sharing this. Morceys and dafunkydrummer are their handles on Wikiloops. Of course I was instantly drawn to the drummers name!

Cheers!
D

Wikiloops Jam #1

Feed The Dog

Ecks Fore

Bassist/multi instrumental faker here! 
I’m just a (very) small business owner nobody who grew up in a musical family. My mom, a piano teacher and church organist, payed for private violin lessons every week until I turned 18. I took up guitar and bass guitar when I was 16 as an escape from the strict regiment of classical music. 
I grew up with older brother’s who were your typical middle class 80’s rockers. 
I’m the surprise baby of a music professor, woodwind clarinetist, author of the book, ‘New Directions for Clarinet’ and a piano teacher,  church organist. 
I grew up a decade later than my wild, crazy, beer drinking brothers. 
Although I was obviously influenced by my surroundings, I prefer music that makes you shake your ASS, not your neck! 
I have played many bars, clubs and festivals, theaters and two arenas. (That was wild!) with various groups ranging from Hip Hop, Puerto Rican and Afro Cuban jazz to country, blues, funk,  Italian folk music, fusion, classic rock covers, hippie jam band, emo, alternative and  metal. What styles are left?  I’ve already played with an accordion I’m not getting mixed up with no banjos and bluegrass. 
 My Heart is in the groove and I’m usually available as a hired gun. I’m a quick study and a normal guy driven by love and compassion for all on this journey called life. 
I’m not a guitarist. I suck at guitar but I hide it through relentless dub ins on my recordings. 
Bass and violin parts take me 10 minutes tops compared to a good hour of guitar faking. 
Drums and other loops are part of the presonus studio one, acoustic drum loops 2  and big fish.  I use Phil Jones amps either direct or with a Shure 57 or both.  
My ears are shot so I apologize for the seriously rough mixes.  Hopefully my skills will improve in that department. 

I praise God everyday for the gifts he gave me, the loved ones who surrounded me, and my ability to share my music with you. 
Thank you! Thanks SoundCloud. And thanks to everyone for taking the time to check my music out. 

-Doug Rehfeldt