Joshua Parmenter - SuperCollider music

for flute, cello, bassoon, double bass and live electronics. Performers are Tanja Backe - flute, Pia Enblom - cello, Külli Lambertson - bassoon and Kristjan Sigurleiffson - double bass. Live electronics done with SuperCollider. From a live performance in Seattle, April 2005. Score and materials available at http://www.realizedsound.net/josh/OrganonSostenuto.html

OrganonSostenuto

for electric guitar and live electronics (SuperCollider). This recording is a live performance from the Spark Festival, 2008 with James Holdman on guitar. Score and materials available at http://www.realizedsound.net/josh/Palimpsest.html

Palimpsest

For computer realized sound using SuperCollider. Premiered at the High Voltage Hall at Warsaw Autumn, 2009. The space had a 20 second reverb time, and 'Risonanza' was composed with this particular performance aspect in mind.

Risonanza

For viola and live electronics. This is a live recording featuring violist Melia Watras. Score and SuperCollider code available at http://www.realizedsound.net/josh/Theta.html .

Theta

Youthful Female Vocals!
Mood: Positive, uplifting, encouraging, motivating

ARTIST: LA Frenchies Ft. D.eeyah
CONTACT: Easy Clearance For Licensing, ONE STOP! 
Contact me, Sylvan at:
Cell: 310-696-9906 - EMAIL: lafrenchies@outlook.com

WE OWN 200% OF THIS SONG.
Release Date: March 25, 2022

Shine On

ProVocative Machines(2006)

La Folia - Binaural

Corpi Sonori (Binaural)

The school song of the Japanese Language School, performed by Katsumi Hashimoto Fujuta (a former student) and composed by Principal Masato Yamasaki. Learn more about Tacoma's Japanese Language School at http://www.tacoma.uw.edu/node/39702 .

Japanese Language School Song "Rising Bright Sun"

Tephra 2 was commissioned by the Washington Idaho Symphony and is dedicated to them. This recording is from the performance in Clarkston, WA, on April 26, 2015.

From the U.S. Geological Survey website: “Tephra is a general term for fragments of volcanic rock and lava regardless of size that are blasted into the air by explosions or carried upward by hot gases in eruption columns or lava fountains. Such fragments range in size from less than 2 mm (ash) to more than 1 m in diameter....Tephra includes large dense blocks and bombs, and small light rock debris such as scoria, pumice, reticulite, and ash.”
http://volcanoes.usgs.gov/Hazards/What/Tephra/tephra.html
(Accessed 01/29/07)

Tephra 1 (2007) was composed for solo percussionist, and was commissioned and premiered by David Jarvis,  professor of percussion at Washington State University. I was drawn to the word “tephra” as a title for the prominence and beauty of volcanoes and volcanic activity in the Pacific Northwest, whose striking landscape was born from a geologically violent past, and also as a metaphor for the creative process. 

Tephra 2 for orchestra represents a continuation of the series, projected to include several works for diverse ensembles. 

The premiere performance by the Washington Idaho Symphony was given in Pullman, WA on April 25, 2015.

Tephra 2 for orchestra (2015)

The Scream (2015)

Luciano Berio: Sequenza VIII for Violin solo (1976)

watch us perform Drugstore Kisses and other songs here: youtu.be/2MmLy6hJqqg   on In The Attic With Piper, a show hosted by Puppet Princess Piper! we sit down for a brief interview, play songs, sacrifice another puppet to the devil.... the usual.


i’m putting on a show 
for the tawdry chemist 
he knows just what to do
you play it all off
but you couldn’t care less
as long as i keep coming through

i take it all off
for the vicodin cowboys
take it all off
gonna make some big noise
take it all off 
for the vicodin cowboys
you know how i do
when i do it for you

i’m getting real lost
in your drugstore kisses
you know i’m gonna
stay the night
and even if this world
gets a little bit vicious 
i know it’s gonna be alright

i take it all off
for the vicodin cowboys
take it all off
gonna spread some big joy
take it all off 
for the vicodin cowboys
you know what i’ll do
when i do it for you

i don’t beleive in phantoms
i don’t believe that you’ll be 
coming back to me
i don’t believe in the anthems
of them carny code priests
who say they see right through me
i don’t believe in your drugstore kisses
i don’t believe in forbidden wishes
i don’t believe in some lucky star
or the way you strum that tin guitar
i don’t believe in the vicodin cowboys
i don’t believe in the vicodin cowboys

i’m putting on a show
for the tawdry chemist
he knows just what to do
you play it all off but you couldn’t 
care less
as long as i keep coming through
and i keep coming through

(c) 2018 by Secret Caves

secret caves

drugstore kisses (WATCH the Caves perform this song! link in Description)

About the project: 
 Stelios Manousakis' solo live electronics project merges vocabularies and approaches from different, often seemingly clashing, realms of electronic music: noise and no-input music with electroacoustic composition with vibrant underground tekno. The sets are very hands-on, using a custom-built live-electronics instrument programmed in SuperCollider. Playing it is very involved, and as real-time as playing an acoustic instrument.  Bookings/contact: stm@modularbrains.net


About the piece:
L'Hypothèse de l'Atome Primitif Sonore (‘The Primeval Sonic Atom Hypothesis’) is named after a cosmological theory, 'L'Hypothèse de l'Atome Primitif', presented in 1931 by Georges Henri Joseph Édouard Lemaître, a Belgian physicist, astronomer and priest. The theory was later mockingly dubbed by its opponents as the 'Big Bang' theory, a name with which it has become widely known ever since. Lemaître, based on Albert Einstein's general relativity theory and on Alexander Alexandrovich Friedman's equations, proposed a model of the initial conditions and subsequent development of the Universe, in which the Universe expanded and continues to expand from a single point containing extreme amounts of energy. This expansion happens in forward time and is coupled by a contraction in backward time that brings the mass of the entire Universe back into a single point (‘l'atome primitif)’, where and when the fabric of time and space comes into existence.

Lemaître’s theory is the inspiration for the structure of the piece and for the sonorities found in it. The piece begins with the bursting of a highly condensed core of sonic energy, which after a period of turbulence and constant transformation creates a plethora of sonic worlds to be observed: some slow and calm, others very fast, others oscillating, and others in chaotic states - but all constantly breeding change and transformation, even when they momentarily appear to be static. The piece zooms in and out of these worlds, looking, or rather listening, at these sonic galaxies from the cosmic to the quantum levels and in-between.

To realize the above, the piece also treats Lemaître’s theory as the conceptual starting point for the sound synthesis and control methods used, with the metaphor of a single point generating the Universe being the core of the design of the live electronics system: The system is a cybernetic model based on digital feedback, which is set in motion by one single binary digit: the primeval atom of digital technology. No other sound sources are used but real-time manipulation of that digit’s path within a synthetic sonic phase space of possibilities, thus revealing its multi-faceted potential and the emergent beauty of the constantly shifting digital universe it creates.

The piece is an Open Composition, meant to take its final shape through live performance, creating an immersive sonic experience that fluctuates between varying degrees of tension and release.


More info and a schematic of the live electronics instrument can be found here: http://modularbrains.net/lhypothesedelatomeprimitifsonore.html


La Folia - Binaural

joshpar

Related tracks