Bombardment of 60s production techniques! 

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It's not going to rain on Tuesday

This is the last movement in a solo violin piece that Steve Bingham recorded earlier in the year; for the whole thing, visit his Bandcamp page: stevebingham.bandcamp.com/album/cuckoo-seven-new-works-for-violin
credits
released November 22, 2024
Composer: Kevin Flanagan
Violin: Steve Bingham

Last Drop:  Steve Bingham

Piazza Sant’Agata:
Overture for chamber group to accompany Tony Clark’s Unsculpted exhibition.
Kevin Flanagan

I first met Tony and encountered his work about a decade-and-a-half ago in Sicily. I was immediately struck by his use of a powerful limited palette, usually of four colours. That, and the stillness of the neoclassically referenced images, often disembodied, took me straight into a world of Italian Baroque stage sets, calling up images of Commedia dell’arte, with Pulcinella holding forth.

The problem in a collaboration where one encounters a different medium is to find a way in. The minimal elements and directness of Tony’s work called for an equivalent response, and because of the Italianate references of both the work and the location of Tony’s studio, I began by looking at Monteverdi’s L’Orfeo for an inspiration, .wanting to re-create the motorific, open textures of the first Toccata, and echoing Renaissance antiphonal choral textures by using three spatially-displaced instrumental groups which call and respond to each other across the performance space.

I have  been interested in composing pieces  for landscape-based projects  in which I   use the coordinates of a location to create both melodic and structural elements, in this case,  the coordinates of Tony’s base in Sicily. A series of numbers can be used to create a melodic line, a chord or a rhythmic cell, among other things. For this piece, I discovered some software that allowed me to analyse the colour codes of Tony’s palette , the numbers yielding a series of notes. For instance, his shade of blue came out as the notes D, E, A, B and C#, which was used as a   melodic  phrase . The directness of his work called for simplicity on my part: sparse, open textures and minimal harmonies usually consisting of shifting two-note harmonic cells, either fifths or seconds. That, and I tried an often static rhythmic and harmonic backing to create a stillness to match that of the paintings. In the end, I used the codes of the four colours, plus the coordinates of Tony’s base in Sicily, Militello; for instance, those of the Piazza Sant’Agata suggested a line for the bass clarinet.

Piazza Sant'Agata

This is the start of a new project with dancers from Stockholm using the Medieval churches at the southern tip of the island of Gotland, in the Baltic Sea off the Swedish coast.  It's a modified recording of a single handclap under the tower.  we're hearing a low G (-ish) with a group  of shifting harmonic reflections off the 12th century space.

Fide Kyrka handclap

https://scale-limited.bandcamp.com/album/fargazing-grscl43

Sephirot’s debut on Greyscale, Fargazing, is a stunning exploration of sound that gracefully balances synthetic textures with organic atmospheres. Across ten tracks, the UK-based artist produces a creative sound design, crafting an album rich in depth, spaciousness and emotional resonance.
The journey begins with 'Chúl', where a broken beat emerges from a dense static interference, gradually unveiling luminous chords and a clever rhythmic interplay. This introduction to the album immediately shows how it thrives on subtle evolution and intricate layering. 'Deep [SEM]', a dub techno gem, has a melodic beauty and progression to it. Its harmonious interplay of evolving melodies creates a lush, layered soundscape that feels like a serene paradise. 'FP/B6' leans into a techier groove with a tight beat and organic landscape, giving the track a natural vibrancy. 'Midnight, Our' is a standout, with its shimmering melodies and subliminal bassline revealing their full intent in the latter half. The track’s final moments become a breathtaking crescendo, leaving you wanting more. 'Holding Patter(n)' serves as a contemplative intermission, blending orchestral tones with dense delays before transitioning into a whimsical conclusion. It’s a perfectly placed pause, preparing the listener for the second half of the album. Tracks like 'Midsummer' and 'Ochred' embrace the genre’s dub roots, combining broken beats with airy, uplifting production. The latter, in particular, radiates positivity and hope with breathtaking chord stabs and a expansive energy. 'Ellipsoidal' deepens the immersion, constructing scenic depth and an enveloping sense of distance. The album closes on a dreamlike note with 'Shon', blending angelic tones and IDM-inspired rhythms. Its wistful conclusion feels like the end of an extraordinary journey.
Fargazing is a brilliant debut for Sephirot. Throughout this album, the artist consistently shows their ability to create emotionally moving dub techno. It’s a deeply rewarding listen that invites repeated exploration. The label’s dedication to releasing exceptional music from global talents continues to be a trademark for themselves. 

It's not going to rain on Tuesday

julesvaughan

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