Recorded live at Nina HQ, NYC on 08/22/2022. 
This performance can be listened to in its entirety and purchased as a digital edition at https://nights.ninaprotocol.com, with 100% of the proceeds going to the artist.

Nina Night - 001 - Kieran Daly (Clip)

Translation of the marian motet "Au doz mois de mai / Crux, Forma Penitentie / Sustinere" from the Montpellier Codex for electric guitar.

Performed by Anthony Vine at The Watermill Center on March 17, 2023.

Au doz mois de mai / Crux, Forma Penitentie / Sustinere

Improvised duo in collaboration with Michelle Lou.

Live recording with no edits. Stereo Mix down from 20 channels. 

Mastered by Eli Crews.

Duo with Michelle Lou (Live At UCSD, 2023)

New Solo Works by Chicago based percussionist Tim Daisy
Artwork by Lewis Daisy (age 6) :)

TIM DAISY SOLO B

The “Iridescent schemes” was written between May to July 2023, inspired by the ways our perception on different things shifts endlessly - under the influence of every new “slant of light” (Emily Dickenson). The title of the piece derives from the phenomenon of goniochromism (from the Greek: gonia, meaning angle and chroma, meaning color) when certain surfaces appear to gradually change color as the angle of view or the angle of illumination changes.

The piece was commissioned by Georges Aperghis and is dedicated to him and the Schallfeld ensemble. 

performed by Schallfeld Ensemble 
conductor: Pierre-André Valade
live recording, September 18, 2023, Schwaz, Austria
recorded by ORF Austrian Public Radio

painting:
Hubert Scheibl, "Seeds of Time"

Iridescent Schemes - Schallfeld Ensemble

For choir and obbligato improviser; 
text from Lamentations 1:12 and "The Cry" by Denise Levertov, with permissions from New Directions Publishing

Commissioned & premiered by Khorikos with Charlotte Greve (alto saxophone), November 12, 2023, Shrine Church of St. Anthony of Padua, NYC.

The first line of Lamentations 1:12 is a question in the original Hebrew: “Is it nothing to you?” This is missed in the vulgate Latin translation into the widely spread "O vos omnes", but the question is more pertinent. Not only a call for help or pity, but implicitly a warning. Matthew Henry’s 1710 commentary puts it concisely: "Jerusalem sitting dejected on the ground calls on those that passed by to consider whether her example did not concern them. Her outward sufferings were great but her inward sufferings were harder to bear through the sense of guilt. Sorrow for sin must be great sorrow and must affect the soul.” Our sorrows now are certainly “great”, especially oriented towards a future whose imagination is inextricable from the specter of a more total destruction than ever before. Hence Denise Levertov’s poem, “The Cry,” which gives voice to that inward suffering through the very impossibility: “Nothing for eloquence / no rhetoric / fits / that unrendering” — paradoxically, it only made sense to try and work through this nothing, to sing in its face with the old and new words, to know your NOW only through what it could be, and choose accordingly with the ineffable escape route of sounds: the bird, the child, the choir, the saxophone. These real and poetic things, and the very efficacy of how they articulate themselves, are constantly shifting around uneasily over the course of this piece.

Is It Nothing

Klangspuren lab 2023

Performed by Schallfeld Ensemble
Conductor Pierre-André Valade
Recorded by ORF Austrian Public Radio

...u nikudy

Tape available directly from Important Records: www.imprec.com 

On ‘Fluorescent Standard,’ guitarist Anthony Vine and clarinetist Gareth Davis present two luminous and serene worlds of harmonic sound. 

The duo entwine sustained tones, glowing with the resonant hues of their instruments, into enveloping and expansive atmospheres. Clarinet sonorities, swelling guitar chords, and tumbling elegiac piano fragments drift quietly through time in elusive cycles that subtly change and expand with each return. 

Every vibration is interconnected, aligned and fused attentively, causing the instruments to dissolve into themselves and emit residual vibratory energies, like fluorescence. What emerges is a music that invites quiet contemplation and rewards deep listening.
 
While Vine and Davis met through the world of modern classical music, ‘Fluorescent Standard’ finds itself in the realms of drone, ambient, and new age. The music is grounded in early minimalist aesthetics of composers like La Monte Young and Phill Niblock, but also shares the sensibilities of contemporary artists like Fennesz, Sarah Davachi, and Stars of the Lid.

Fluorescent Standard A

From "Relay Signals" (lucky kitchen 026) Ernst Karel- analogue electronics/Tim Daisy-percussion. (recorded summer 2003)

Ernst Karel/Tim Daisy  Dark Green, Bright Red (2003)

performed by: Jack Langdon (e. gtr), Adam Lee Sanders (e. bass), and Graeme Shields (organ)

premiere: October 16, 2018, First Lutheran Church, Greenlight New Music Festival, Duluth, MN

This is the third work in a series which explores the ways in which sound and space are shaped by each other—in this case, bringing the recorded
spaces of working class life through the fixed media into the resonant and contemplative space which pipe organs typically exist. The aesthetic
difference posed by the contrasting field recordings with the pipe organ are mediated by the presence of the electric guitar and bass—instruments
whose relationship to popular music further augments and complicates the symbolic space of this work. This piece takes its poetic origins from the multifarious, contradictory experiences of being a worker in the 21st century—utilizing repetition, stagnation, sudden gestures, harsh noise, and gentle
sonorities to create a prosaic beauty of proletarian expression.

here (3): sound images of the worker, part one - for e. gtr, e. bass, organ, and fixed media

2019 Work 41

Jack Langdon (b.1994) is a musician, video artist, and writer.

He creates work that heightens our attention towards commonplace sounds, images, and narratives—reassembling things we take for granted into strange, elusive constructions. His works are stark and expansive, drawing inspiration from the landscape and folk modernisms of the American Midwest. As a musician, Jack performs on a variety of keyboard and string instruments as well as composes concert music. His films focus on landscape, the built environment, and people, and he writes on the political economy of cultural production.

His concert music has been presented and supported by Klangspuren Schwaz, Darmstädter Ferienkurse, Composers Conference, the Fromm Foundation, Northwestern University, New Music Mosaic, Williams College, Microfest Prague, Montreal Contemporary Music Lab, reMusik, and MISE-EN_PLACE, and has been performed by Yarn/Wire, Left Coast Chamber Ensemble, Miroslav Beinhauer, Current Resonance, Talea Ensemble, Jack Yarbrough, Ensemble Dal Niente, Trio SÆITENWIND, Yoshi Weinberg, Southland Ensemble, Graeme Shields, Sara Constant, RenegadeEnsemble, Minnesota Sinfonia, The St. Olaf Band, and The St. Olaf Lyric Theater. He has recorded alongside Anthony Vine, Weston Olencki, Kelley Sheehan, Webb Crawford, and Taylor Ho Bynum. His recordings have been released by Sawyer Editions and Lobby Art Records. His written work has been published by Sound American, Cacophony, and Shred Magazine.

Jack was raised in Keyeser, Wisconsin and currently lives in Chicago, Illinois. He belongs to the Sault Ste. Marie Tribe of Chippewa Indians and is of German, English, French, and Ojibwe descent.

here (3): sound images of the worker, part one - for e. gtr, e. bass, organ, and fixed media

Jack Langdon

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