fresa-exp

From Woven Songs, out Feb 2022 on LP and digital

Rosales - Loom

Here Is My Home

Muscut Show on @lyl_radio 1 June 23

Latest finds, favorites and unreleased material of the label and its friends and colleagues:

Roméo Poirier - Haut Lieu (forthcoming on Muscut Test Pressing IV)
Mads Emil Nielsen - Untitled (Branches)
Jan Jelinek - On the quay (version)
Magnétophonique - Moist Jungle Mist II / Driftwood
Roma Vjazemski - Horses of Uhum
You Can Can - Infinity of Loose Ends
Nikolaienko - Ambianta VII
Woo - Love on Other Planets / Spaces We Breathe
Martyna Basta - Lullaby (for Iwo)
Natela Svanidze - Epitaphium (Live Performance)
4th World Magazine - Exact Sensorial Fantasy in Tempio D'Iside
Les Halles - Thresholds
Loto Retina - Leçon De Spéléologie
Mondoriviera - Compax
Tapes - Circulation Desk / Geo Print / Spiral Catalog (forthcoming on Mida)
Fruit Express - No Secret

Show Lyl 1 June 23

Mikael Lind is a Swedish composer based in Reykjavik, Iceland who has released on labels including Archives, Time Released Sound, Dronarivm and Polar Seas. In 2020 we released his solo album Give Shape To Space and also a collaborative EP called RAMMI, with Sævar Johannsson. Johanna Sjunnesson is a cellist based in Sweden, who performs as part of the Swedish Radio Symphony Orchestra and as a soloist too, with shows at Konserthuset and Berwaldhallen in Stockholm, the Grammy Gala, the Polar Music Prize Banquet, and more. In 2021 she released the EP Celistial, a collection of her interpretations of works by Bach, Purcell, Marais, Vivaldi, and Dowland, creatively mixed with electronic effects by Mikael Lind to create classical music for the 21st century.

Their collaboration began in Reykjavik, as Mikael established a bedrock of sound through piano, synths, electronics and effect treatments, before Johanna added the cellos from Sweden, through several remote file sharing exchanges. They intended to create a balance of slow, majestic beauty in their work, alongside more upbeat, rhythmically interesting parts, all the while underpinned by their shared love for modern classical music. The themes they explored and felt attached to were waves, flow and parallels; weaving linguistic metaphors into their music, without ever resting on anything clear and tangible. This allows the music to express itself, with the artwork and track titles serving only to enhance its impact.

This short album is named Wave Cycles and is in part inspired by the Swedish naturalist Daniel Solander, an apostle of Carl Linnaeus who travelled to Iceland in 1772 to investigate the botanical specimens of the island. The delicate textures and timbres of Lind and Sjunesson’s music reflect the finely-balanced natural world; there is an inter-dependence between each sound, allowed to thrive in its own eco-system and building to be greater than the sum of its parts. There is a dynamism and wealth of expression in these pieces, which will bring about stirring, life-affirming waves of emotion within its listener.

Wave Cycles

wlr146 Mikael Lind & Johanna Sjunnesson - Wave Cycles

Inspired by the haiku:

Mount Asama
amidst its fumes and ash
fresh young leaves!

by: Yosa Buson

https://www.naviarrecords.com/naviarhaiku579-mount-asama/

from the ashes (naviarhaiku579)

A year ago, we would have said, "We don't do political music." That was then. EIO's evolving take on Albert Ayler's "Truth Is Marching In." 

David D. McIntire: tenor saxophone, arrangement
Ryan Oldham: trumpet
Brian Padavic: double bass, tanpura raagini

Recorded in rehearsal at Padavic's border hideout, 7 June 2017. McIntire managed the microphone & c.

Truth Is Marching In (7 June 201 7)

Track taken from the upcoming album 'The Castle and The Garden' released through Fluid Audio on 31.05.18...

www.fluidaudio.bigcartel.com

The Castle and The Garden

Cameron Day - My Body And My Blood

7-limit just intonation test

This piece is a simple set of variations on a simple and song-like melody. The subtitle “Sonatiny III” refers to the series of short instrumental works that I have composed for specific people. I am grateful to Arianna Tieghi for requesting this piece from me!

performed by Kennen White

Batzner: Chamber

Simple Variations (Sonatiny III)

Pre-release mix of my new spatial audio work Transfiguration, the final version of which will be included on an upcoming release from Irritable Hedgehog Music, "Pentecost."


Transfiguration is the second of a planned triptych of meditations on the interactions, the comings-and goings-and-union, between the tangible and spiritual worlds. The gospels relate the Transfiguration as the visible illumination of the depth of reality veiled in flesh in the person of Jesus: “his face shone like the sun and his clothes became white as light.”

Like its companion piece, Pentecost, Transfiguration is crafted from a simple sound source (in this case, a one-second contrabassoon sample). Following a pen-and-paper sketch, the work blooms from muted simplicity to a rich, layered texture before returning to a single tone, now flush with the afterglow of its brief metamorphosis.

Pentecost

Transfiguration

Transfiguration (2018) PRE-RELEASE

From the premiere performance on Oct. 21, 2018 in Portland, OR: Fred Korman, oboe; Sara Mayo, trombone; Sunnyside Symphony Orchestra, Travis Hatton, conductor.

I. Hesitant
II. Energetic (at 3'59)
III. Introspective (at 7'01)
IV. Vigorous (at 11'00)

This Oboe Concerto is dedicated in friendship and admiration to Fred Korman, who commissioned the work. Fred Korman for much of his career performed as the principal oboist of the Oregon Symphony in Portland, OR. The Oregon Symphony was one of the first full-time professional orchestras I ever heard live and, as a student, the playing of the Oregon Symphony’s double-reed sections made a deep and lasting impression on me. I regard Fred’s playing as the epitome of lyricism and suppleness in tone. Though this concerto is certainly not without its technical challenges, mainly I desired to highlight the incredible sense of line, rich tone, and soaring lyricism that I associate with Fred's playing.

Among the interesting challenges Fred requested in his commission is the inclusion of an obbligato tenor trombone part; in his imagination, he felt it would be an intriguing combination, and I agreed. Together we conceived of the trombone part not as an equal soloist, but as a singular member of the accompanying ensemble that provides a surprising color (for an oboe concerto) and enables a greater depth of communication between the soloist and orchestra. I view this as precedented by the solo trumpet part in Shostakovich’s First Piano Concerto and the snare drum part in Carl Nielsen’s Flute Concerto, among other notable examples.

Oboe Concerto (2018)

Commissioned by the inaugural Open Spaces festival in Kansas City as part of the KC Composed concert. Scored for chamber ensemble (Vln, Vla, Vcl, Fl, Cl, perc.) This recording is of the premiere performance on October 28, and was conducted by Lee Hartman. My gratitude to Open Spaces for creating the festival, Daniel Morel for asking me to join this project, Lee Hartman for conducting and rehearsing, and the wonderful musicians who gave such a great performance!

Flyover Country

Devin and Wyatt bring on special guest Thor in part 1 of making characters to remember. Listen along as we discuss what it takes to make heros of old that stick with you years after the game night is over. Game Masters, take heed, as we cover NPCs to tell all your friends about. Part 2 releasing next week, stay tuned.

AoE EP2 | Creating Memorable Characters Part 1

We continue our deep dive into making Memorable Characters this week with an EVEN DEEPER dive into alignment and what it means to play your character. Making decisions in character can be a hard choice but today, Thor, Devin, and Wyatt discuss when to apply your alignment and separating your player brain from your in-game brain.

AoE EP2 Part 2 | Alignment and What It Means

Live performance by David D. McIntire (baritone saxophone, bass clarinet), Michael Miller (bass clarinet, zwoom) and Dave Seidel (electronics) at Missouri Western State University, March 4, 2020.

This performance is a collaboration created by McIntire and Miller improvising with my piece Involution 2 (with some live tweaking of the electronics). This was our first performance as an ensemble, and we had no rehearsals. We had a great time, and I hope that we (or some other assemblage) can do this again sometime, hence the designation as "#1".

Involution symbol found at https://en.wikisource.org/wiki/Cowie%27s_Printer%27s_Pocket-Book_and_Manual/Mathematical,_Algebraical,_and_Geometrical_Characters

(w)In(d)volution #1

Irritable Hedgehog is the publishing imprint of music by David D. McIntire as well as a label that explores minimalist, postminimalist and soundscape repertoire.  To date they have released seventeen physical releases, garnering considerable praise for their excellence. Our Soundcloud space is a place for David to post works-in-progress, live-electronics improvisations, and performances of his trio the Ensemble of Irreproducible Outcomes. More info at www.irritablehedgehog.com.



Home of sweet experimental slow music, sound and art practice by Nukumori Eugene / Nx -日本の街音収集家 (always welcome demo & collabo for release from Living Room Tapes)　　 

Nukumori Eugene / Nx ﾇｸﾓﾘ ﾕｰｼﾞﾝ / ぬくもりゆーじん is a Hong Kong - Japan Base Sound Artist, Researcher and  Architect. He is joining the sound & art projects around the world beside run his own label  "Living Room Tapes" - the sound & art collective. 

The project often highlights the sounds and arts placed between the nature and city's folklore - deconstructive city street culture and urban suburbia - related to the urban observation research project ~ Research and Practice of Alternative Art Space / Micro-Art Space  

featured projects :  Strange Ordinary Necessities不思議な日用品 / Urban Observational Studies 都市観察学会 / Skmtt /  / HONG KONG SUBURBIA / 3am / Soundscape Saitama 100 / 100音夜行 / Edition 1/f / A TALE OF OUR CITIES / MEIV

Truth Is Marching In (7 June 201 7)

Irritable Hedgehog Music

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