Written by Blake Ewing
Performed by Blake Ewing with cello performances by Craig Hultgren
Album art by Matthew Salleh and Rose Tucker

Spotify: open.spotify.com/album/6pyl44xfQw…e4aca961eded4a88
Apple: music.apple.com/us/album/we-dont-…dtrack/1566426258

Film, CD, vinyl: www.wedontdeservedogs.com

We Don't Deserve Dogs (Original Motion Picture Soundtrack)

Blessings

http://antonymes.bandcamp.com/album/there-can-be-no-true-beauty-without-decay

Means Of Escape [i]

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Apple Music: music.apple.com/us/artist/steven-…theinz/1421925543

SoundCloud: @steven-gutheinz

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Yuichi Watanabe - Theme For Life

Erinnerungen an frohe, unbeschwerte Stunden. Der Scherzo-Teil besteht aus zwei miteinander konkurrierenden Motivblöcken, die jeweils Lyan und Finley wiedergeben sollen: Ihr Spielen, Umherjagen und gegenseitiges Necken

opus 162 - Streichsextett Nr. 11 f-moll 3. Satz Scherzo. Poco allegretto

Almost Everything

"Hello World" is my entry to Piano Day 2016.
http://www.pianoday.org
#PianoDay

Mash Waves Music is a music project by Daniel Soffner based in Melbourne, Australia.

Blog:   http://mashwavesmusic.soffner.com
Bandcamp:  https://mashwavesmusic.bandcamp.com
Twitter:  https://twitter.com/danielsoffner
Facebook:  https://www.facebook.com/MashWavesMusic

Hello World

Graham Reynolds loves to explore narrative in his work. This tendency makes him a natural fit for the film, theater and dance work that form one of the cores to his composing career. In fusing a loose concerto format with the story of Charles Babbage and his invention the difference engine, Reynolds' composing voice finds itself in a work that is intense and driving, beautiful and intimate, personally expressive and broadly accessible all at the same time. Developed over a course of years, the initial ideas for each movement were introduced and inspired separately before being woven into this one piece.

The musical onslaught of the opening movement came to Reynolds during a lecture by LB Deyo on Babbage and his work, inspired by the ferocious pace of both Babbage's thinking and the calculating speed of his invention. The fourth movement was developed in a very different form for the Rude Mechs play "The Method Gun", now touring the country. The fifth movement started as a solo piano piece, an Austin Museum of Art commission, in response to the work of Sol Lewitt. Reynolds joins other alt-classical voices in a 21st century approach that is no longer in rebellion against tonality and melody, nor desperate to prove their validity through focus on a "unique" extended technique, while folding 20th century ideas from clusters to modal harmonies to polyrhythms into a broad vocabulary.

The completed concerto "The Difference Engine" premiered on February 6th, 2010 with a 35-piece string orchestra in a Golden Hornet Project performance at Ballet Austin’s Austin Ventures Studio Theater. Soloists Leah Zeger on violin, Jonathan Dexter on cello, and the composer himself on piano fronted the debut, with parts written specifically for their skill set and personal voices. Those voices were then captured for this CD. Not fully realized in his lifetime, the difference engine was the masterwork of 19th century inventor and mathematician Charles Babbage, an attempt to create the world's first computer. A remix of each movement forms the album's second half with contributions from DJ Spooky, Octopus Project, Grammy-nominated producer Adrian Quesada of Grupo Fantasma, Golden Hornet Project's Peter Stopschinski, and finally one from the composer himself.

04 Movement IV  Late at Night The Astronomer

Return

Before the Lens

Before The Lens

Ninety-Nine Stones is inspired by a story told by Erling Kagge in his book Silence In the Age of Noise. It is a story about ninety-nine scientists based at the South Pole who had seen nothing but snow, ice and man made objects for several months at a time. One year someone smuggled in ninety-nine stones and as a Christmas gift gave each resisdent at the base one stone. Everyone sat holding their stones in quiet reflection feeling the weight of the stone without uttering a word. 

I imagined the jumble of sounds they might each individually be hearing in their heads, sounds from all around the world, where home is and where the pebble took them back to. I wanted to make them all sound at once. 

The solo violin part performed by Marie Schreer.

Ninety-Nine Stones ft Marie Schreer

Sometimes I can't tell if my mood is driving the music I'm playing, or if the music is influencing my mood. I think it's a little of both. But this Saturday morning, I'm waking up to another gentle day. The city is peaceful just behind my curtains, like a frozen postcard from a moment stuck in time. Only the clouds seem to move, announcing the passage of hours. I turn back to music, to feel something 'changing', and with it, emotions, perceptions and senses are all that I know that are signs of my 'life'. Today's soundtrack to the imaginary narrative is a piece by Richard Luke appropriately titled "Silent Story". This track originally appeared on Luke's 2019 release on Moderna titled Glass Island, and today we are honoured with a rework, this time accompanied by short thumping bass, and gorgeous string passages courtesy of Amira Bedrush-McDonald. This piece is taken from an upcoming EP, featuring additional reworks by Daigo Hanada, Aisling Brouwer, Jakob Lindhagen, Halftribe and Anna Pluto. I hope that it starts off your quiet May weekend, as it has revealed all that's real in mine.

04 Movement IV Late at Night The Astronomer

innova Recordings

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