Whats up: 
6.,7.,8.3.2025 Sound & songs for theatre at Festspielhaus Hellerau, Dresden 
2024 Artist Stipend NRW for ERA GELDES new set development
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26.09.2021 4-6pm concert at Theater Landungsbrücken Frankfurt/ it’s election day! 
6.10.2020 9pm concert ERA GELDES at anachronism, MS Stubnitz, Hamburg
7.10.2020 9pm concert and live stream ERA GELDES at anachronism, Theater Schwankhalle Bremen
Release: charity album with Hackoustic for Club Iklectik
14.3. 12pm: UNION CHAPEL, London: vocalist in the Hackoustics Orchestra.
“Insubordinately Sublime” -Inigo Wilkins about recent concerts
Here you find songs, sounds and radiofeatures I arrange and produce myself and some I speak and sing for. Situated between postindustrial, sonic jokes and experimental pop-punk.
***ALBUM: https://jcdecaux.bandcamp.com/album/watch-close  ***

I am an artist living and working between London and Berlin and on tour.
Studied post-dramatic theatre and theory/philosophy with a focus on soundart: at ATW Gießen at Heiner Goebbels, Felix Kubin u.o. and as a guest contemporary dance&choreography at CNSMD Lyon.
I love words and sounds, write for theater and run a theatre company putting up music performances. I work with electronic and analog sounds, homemade instruments, voice(s) and fieldrecording. I direct contemporary classical concerts, live radioplays, music for theatre and soundinstallations.
Here on soundcloud you can find some tracks, sketches and experiments.  
 enjoy listening-

When you click on the songtitles you can see more infos about the pieces.
below are links to CV etc. feel free to have a look around, see you in real life.

pictures & sounds copyright @AnaBerkenhoff if not otherwise quoted. 

about the album "Watch Close":
picadilly records writes: "...sounding a little like an Eccentronic Research Council meets Raymond Scott’s Mahattan Research Inc meets Cluster, this is a collection of poetry, electronics and improvisation woven together like a tapestry and drawing you in like a tense but beautifully shot thriller. Clangers-esque theramin sine tones, ethnic percussion, multi-lingual poetry, mangled strings – a plethora of idents from an all manner of subversive stylings. This is brilliant!"

boomcat writes: "...blur the lines between poetry and tone poem, with Manchester’s answer to Peter Pan coaxing out a gauzy spectrum of eccentric small sounds, lopped beats and radiophonic quarks.."

In 2016 my work was played at Tilde Festival for soundart Melbourne, Radio NY, live concert&interview on BBC Wales, concerts at Oriel-Sycharth Wales, New River Studios London, The Others London, Sonic Arts Forum London, Radio futuresound.fm.
speaking at Focus Wales Festival // Digital Innovations Day: Panel 3: THE SPACE RACE: How embracing the digital revolution can give you the edge

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

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