Reading

Birthday Minuet for Ben

Rashid Behboudov-Choban Qara

The Dial-A-Poem Poets

These Stories About After The Revolution

Atticus von Holten
"Prayer Loops"

1. Rosetint
2. Angels
3. In the Cold
4. Your Choice to See More of Me
5. Going Home

Mastered by Theodore Cale Schafer

Prayer Loops

Going Home

Lyrics:  Frank O'Hara {from his poem "How To Get There" in The Collected Poems of Frank O'Hara, page 369}
Guitar:  Guy Pettit
Vocals:  CAConrad

HOW TO GET THERE

buy tape + digital nicemusiclabel.bandcamp.com - also available on Spotify, Apple Music, Tidal, Google Play, Juno Download and more.

taken from Fia Fiell 'A Hair, A Heap' NM004

Debut release from Melbourne electronic composer Fia Fiell, aka Carolyn Schofield (No Creator). Schofield combines her profound practical and theoretical chops as a pianist/composer with a most modern and perceptive ear for stretching out the orbit of millennial electronic music constructs. This first effort was recorded in early 2014 and is comprised of heavily, if not wholly improvised arrangements - Schofield has an unnatural knack for wielding the hi-res vapour clouds which form and nebulize around uneasy chords and melodic cycles, perhaps conjuring a notion of childlike wonderment and trepidation in the face of an unmapped universe around us.

Fia Fiell 'A Hair, A Heap'

Recording of La Monte Young's "Poem For Tables, Chairs, Benches, etc." (1960) done by the University of South Carolina Experimental Music Workshop in September of 2013 in Columbia, SC.

Poem For Tables, Chairs, Benches, etc.

for string quartet with mobile transducers and Rainforest object orchestra
Southland Ensemble

Eric km Clark and Orin Hildestad, violins; Cassia Streb, viola; Jennifer Bewerse, cello; Casey Anderson, electronics design and object operator; Christine Tavolacci, object operator

Other Forests

Local Music

Track 2 -  Vestiges [LOCAL MUSIC 2017]

microphase is an investigation into the phasing of samplers on a micro-level. 3 piano samples of 100, 100.5 and 101 milliseconds, panned center, left and right, are continuously looped, while the read-point of the samplers is incrementally changing and wrapped around the sampling window, so that each sampler returns to read-point 0 after 900 iterations. One cycle of the 3 samples without the read-point interpolation is 33 minutes and 50.1 seconds. The phasing of all processes involved results in a cycle of 21 days, 3 hours, 31 minutes and 30 seconds until the texture starts repeating itself.
 
The piece was originally composed for a choreography by Julian Weber. 1_(100/100.5/101ms,900it) is dedicated to composer Wojtek Blecharz. Listen to the first cycle with a 60 second fade-out.

microphase 1_(100/100.5/101ms,900it)

Download : lucindachua.lnk.to/somebodywho

Somebody Who

Jeffrey Treviño, 2012; Nicolee Kuester, multi-tracked horns (binaural recording, UCSD recording studio).

when your car
goes under a road
the rain stops
presence of absence

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GLITTER IN MY WOUNDS
By CAConrad

Read the full poem online at this link: http://bit.ly/2Rt9dzQ

GLITTER IN MY WOUNDS By CAConrad

"SONNET" by Bernadette Mayer, read by CAConrad

In the tall grasses is a 40 minute hallucination of the organization of knowledge, of spurious maps and simulacra, structured in 16 parts after the indecipherable encylcopedia Codex Seraphinianus, fit into the span of Peter Greenaway's A Walk Through H, and exploding into a homage to Walter Marchetti's La Caccia, with its cacophonous dawn chorus of hunter's bird whistles.

In the Tall Grasses (Binaural Mix) [2012]

Jeffrey Treviño (b. 1983, Los Angeles, USA) is a pianist and composer working in California's San Francisco Bay area. His compositions and transcriptions have been performed by some of the most accomplished soloists and ensembles of our time, including pianist Steven Beck (New York Philharmonic), harpsichordist Mahan Esfahani, the Arditti String Quartet, carillonneur Tiffany Ng, bass clarinetist Anthony Burr, percussionist Ross Karre (ICE), pianist Rei Nakamura, contrabassist James Ilgenfritz, violinist Batya MacAdam-Somer, and Wild Rumpus, with notable premieres at the International Computer Music Conference, the Oberlin Conservatory Percussion Institute, New York City's Symphony Space, Germany's Akademie Schloss Solitude Summer Residencies, South Korea's Seoul International Computer Music Festival, Mexico's Visiones Sonoras, SIGGRAPH, the International Conference of the Society for Improvised Music, the Freiburg Hochschule für Musik, June in Buffalo, Portugal's Vila Real Conservatory, New York City's Miguel Abreu Gallery, the Carlsbad Music Festival, Freiburg im Breisgau's E-Werk, and Berlin's Hanns Eisler Akademie.

     Treviño has shared his creative work at renowned festivals and universities and is in demand as a teacher and presenter; most recently, he offered composition masterclasses, lectures, and workshops as an invited composer in residence at the Ecos Urbanos (Mexico City) and Dias de Música Electroacústica (Seia, Lisbon) festivals of electronic music. He has also given invited presentations at the Oberlin Conservatory of Music, Yale University, Harvard University, the University of California at Santa Barbara, and Lisbon's Escola Superior de Música, and he has been an invited composer in residence at Stuttgart's Akademie Schloss Solitude, the Banff Centre for Arts and Creativity, Arts Letters & Numbers, and Porto's Escola Superior de Música e Artes do Espetáculo. Treviño has taught courses in music at Stanford University, the University of California (San Diego and Santa Cruz), Carleton College, and Colorado College.

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jefftrevino

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