PsychoWarrior: MG Ultra X

i-Void Destroyer

Phantom Photo

EVERY SONG ON THE RECORD SLOPPED TOGETHER BY NONE OTHER THAN OUR VERY OWN ANGELIC MIX. ENJOY IT OR STFU <3 

PsychoWarrior: MG Ultra X Album Preview

All that we see - choral work written for Echo Vocal Ensemble

yeah music

restarting

uke + live electronics improv

sandbox sand sand sand sand sand no bucket

Haven Hale

Llen Cadnant

for orchestra

Commissioned by SWR / Donaueschinger Musiktage

A few short bars from the Intermezzo of Ralph Vaughan Williams’ Seventh Symphony provide the entire material for this composition. Through the “sampling” of this score fragment, its musical gesture is frozen: it becomes an “animated still life” (Lauren Berlant), an image that slowly drifts by. The material is extremely reduced, yet never exactly identical. The gesture appears in fragments, presented from countless different perspectives. Only the logic of digital processes is capable of achieving such a precision of cuts within the sample, whose artifacts are translated into complex, displaced rhythms and ornamental variety. This careful transcription of digital artifacts is an attempt to approach a perspective of machine listening. 

Each bar is a cut. The result is a continuity that is dialectically dependent on discontinuities. Peter Osborne, in Anywhere or Not at All, refers to Gaston Bachelard: “‘Psychic continuity is not given but made.’ And it is made out of the temporal structure of the relations between acts: ‘What has most duration is what is best at starting itself up all over again.’” In other words: The deepest continuity is paradoxically that which continually restarts or renews itself.

Sunday, 19 October 2025 — 17:00
Donaueschinger Musiktage — Closing Concert

SWR Symphony Orchestra
Elena Schwarz — conductor

The deepest continuity is paradoxically that which continually restarts or renews itself.

Olivia De Prato and Victor Lowrie Tafoya, violins
Forrest Eimold, composition & electronics

This piece mashes material from 11 common practice-era violin concerti into a pulp, the remains of which are read simultaneously by two unaccompanied violinists. The electronics fuse their instruments into one mega-violin, sounding the frictions between the players' interpretations as much as it does their virtuosic commonalities. The result attempts to enact the difficulty of maintaining community during sickly times: each and every physical unison carries with it a disquieting health risk, just as each and every act of social distancing becomes a painful reminder of physical isolation.

The piece may be adapted for any pair of the same bowed string instrument.

Forrest Eimold: Full Fathom Two

Eimold.Forrest@gmail.com
composer-performer

Forrest Eimold: Full Fathom Two

Forrest Eimold

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