Written by Blake Ewing
Performed by Blake Ewing with cello performances by Craig Hultgren
Album art by Matthew Salleh and Rose Tucker

Spotify: https://open.spotify.com/album/6pyl44xfQwbJRWeImzhCPj?si=e4aca961eded4a88
Apple: https://music.apple.com/us/album/we-dont-deserve-dogs-original-motion-picture-soundtrack/1566426258

Film, CD, vinyl: https://www.wedontdeservedogs.com

We Don't Deserve Dogs (Original Motion Picture SoundtracK)

We Don't Deserve Dogs

Today we did some nice recordings at the location where the "big brother" of the UC is dwelling - the Pfelghofsaal Tübingen. A fantastic performance by Matyas - hope you enjoy!

You may also check out the video at: http://www.youtube.com/watch?v=OrqH4yqjnHs

FireDance - Improvisation by Matyas Glut, Feat. the Una Corda Piano

Europe After The Rain

A collection of Max's recent filmscore work, together with some tracks from the albums which have recently been featured in various feature films.

DIE FREMDE / Feo Aladag - Umay travelling

IMPARDONNABLES / Andre Techine -This Little Life

WALTZ WITH BASHIR / Ari Folman - I Swam Out To Sea   Return

collaboration with the lovely https://soundcloud.com/pascal-lengagne 

Page Through Time

Federico Albanese - THE BLUE HOUR


'The Blue Hour' will be released on LP, CD, Download via Berlin Classics Neue Meister on 15 January, 2016   

Buy on Itunes - https://itunes.apple.com/us/album/the-blue-hour/id1053970394

Berlin based, ‘piano poet’ Federico Albanese took inspiration from the brief transitional state between day and night, writing a collection of chamber-music miniatures that withdraw, explore, yet assert their laconic melodies all the more decisively. The emotions to which Albanese has given expression in his thirteen compositions have been articulated with well-considered gestures.   

Equally well-considered is the choice of instruments that Federico Albanese deploys on ‘The Blue Hour’. Piano and synthesizers are joined by a cello, magnified by over-dubbing and sound effects that culminate into a little chamber orchestra, which swells the acoustics while checking the dominance of a clear solo voice. Albanese esteems the Gesamtklang, the overall sound image, with its mixture of compositional precision and dreamlike fluidity. For this reason, the pieces are recorded from start to finish on analogue equipment, further enhancing the warmth of their sound. In ‘Céline’ we hear a discreet beat, scarcely perceptible, a gentle pulse that lends structure without jeopardizing the charm of ‘The Blue Hour’.  

“There is a particular moment when opposites are very close, almost touching one another. When there is still light but not quite darkness. A world in between, where all things are uncertain, vague, floating into shade. We can follow or observe, unsure where this would lead - into darkness or light; into the shadow of memories and dreams. A reflection of our desires and hopes, ready to be seen or unseen. It can be a sudden glimpse, with ideas turning into shapes, not yet complete. You can see things, but are unsure what they are. It is an unrevealed choice. A place to recover and heal, lulled by the security of the warm shadow of an ancient tree upon a hill" – Federico Albanese

Buy on itunes

Migrants

Contemporary chamber music for cellos, piano, harp, bowed vibraphone, and celeste 

walterarlenhenry.com


deliquesce

artwork by Colin Herrick - Time Released Sound

Skopi

A couple of things I recorded last night at home, warts and all.

Forgotten Postcards

Oversky

Max Richter trained in composition and piano at Edinburgh University, at the Royal Academy of Music, and with Luciano Berio in Florence.

On completing his studies, Max co-founded the iconoclastic classical ensemble Piano Circus, where he stayed for ten years, commissioning and performing works by Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe and Steve Reich.

In the late 90s he worked with a number of electronic artists, notably Future Sound of London on their album 'Dead Cities". He subsequently collaborated with FSOL over a period of two years, also contributing to the albums "The Isness" and "The Peppermint Tree and Seeds of Superconsciousness". Max also collaborated with Mercury Prize winner Roni Size, on "In the Mode".

In June 2002, Max released his debut solo album, "memoryhouse", recorded with The BBC Philharmonic Orchestra. This was followed in March 2004 by FatCat's release of "The Blue Notebooks", with featured readings by Tilda Swinton.

In 2005 Max produced Vashti Bunyan's outstanding comeback album "Lookaftering".

2006 saw the release of "Songs From Before" based on Haruki Murakami texts read by Robert Wyatt. That same year, Max began performing "from The Art of Mirrors", an evolving score to previously unseen Super 8mm films of Derek Jarman.

Max's more recent work continues to stretch the notions of what Classical music is.  ‘24 Postcards In Full Colour’, released in August 2008, is an experimental work made up of 24 composed ringtones.

Max works widely in film music, installation and the theatre, most recently on INFRA, made with Wayne MacGregor and Julian Opie for The Royal Ballet, London. The Ballet was the subject of a BBC 'making of' documentary.

Max was named 2008 European Composer Of The Year for his score to Ari Folman's Waltz With Bashir, for which he was also nominated for the Prix France Musique.

DIE FREMDE / Feo Aladag - Umay travelling

max richter