ce sont de belles textures, on a envie d'entendre la pièce en entier.

2014. dur ~20mins. 
Commissioned by Vicky Chow, with assistance from the Canada Council for the Arts.
Premiered at Spectrum, NYC, May 23, 2014.

Program notes:
this piano is a machine. 
this performer is a machine. 
this piano and this performer, together, are a machine. 
this machine will not communicate. 
all it knows to do is turn on and off. 
this machine does not operate according to our time scale. 
this machine breathes to the rhythms of its own heartbeat.

this machine breathes to the rhythms of its own heartbeat

BF1 Extrait

Heliotrope insects is a collection of minimal drone circuits. The first prototype was realized by connecting two salvaged electronic components : a simple alarm/piezo buzzer and a mini solar panel recycled from garden lamps found in the trash. With a desire to design more unique, alive hissing circuits, a colony was built, each insect presenting a different combination of solar panel and buzzer models. // Insectes héliotropes est une collection de circuits sonores simples, chacun composé d’un mini-panneau solaire et d’une alarme-buzzer. Le volume et la fréquence des oscillations produites par les insectes sont affectés par la luminosité ambiante. 

Heliotrope insects // Insectes héliotropes

Sometimes when playing organ preludes and postludes in church, I improvise on rap songs. Sometimes I start with something else (say, for example, motives based on my own interpretations of "redemption" or "jubilation" or "cupcakes") but the journey ends up, somewhere along the way, in the loopy-oriented terrain a rap song or vice versa. 

Most people listening out in the pews more often than not have no idea what sources I quote at the time (depending on who's out there, of course), but the most intriguing part of the exercise is that people of all stripes seem to like the pieces, and have said to be "moved" by them in ways unconventional and far away from a song written for, say, a club. 

There is little material intervallic and harmonic difference between a song played on the organ and a song played through a DAW after all; meaning is ultimately ascribed through timbre and context. This fact testifies to the power of a delicately placed recontextualization and is proof of an "everyday sacred"  contained in even the most deceivingly simplistic 4/4 riffs and 12-bar bass lines.  

A 2013 Gate Production. 
Composed and Performed by Kara-Lis Coverdale in Montreal, Quebec. 

Kara-Lis Coverdale - Puttukas(organ postlude)

Magali Babin is active on the experimental music and improvisational music scenes since the 1980s. Her artistic work is based on the playful amplification, sonic interaction and manipulation of everyday objects.
Starting with the amplification of the object, Magali Babin develops an interest for the recording of environmental sounds and “sounds we no longer hear, since they are such an integral part of our routine.” 
In parallel with her compositional work, her research activities are presently focused on capturing natural and environmental phenomena, on the fabrication of different types of microphones and on the acoustic phenomena of performance spaces.
In addition to her artistic solo work she regularly collaborates with the collective Mineminemine (with Éric Létourneau, and Alexandre St-Onge, the Turntable Quartet by Martin Tétreault and the International collective; nocinema.org by Jérôme Joy .
+ INFO HERE:
http://magalibabin.com/magalibabin.com/accueil.html
or/and
http://www.electrocd.com/en/bio/babin_ma/


BF1 Extrait

magali babin

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