When You Leave Me
I.When you leave
II. I Am Important
III. My Children's Children
IV. You leave me less

Text by Susan Bywaters
Featured performers: Evan Amoroso, trombone / Tyler Woodbury, tuba / Sila Senturk, Ignacio Ojeda, pianos / Elizabeth Gartman, soprano
Mixed by David Nguyen

Photography by Jessica Kiley

When You Leave Me

A meditation on unnecessary air travel

Rendered in SuperCollider using the Ctk quark for non-realtime synthesis

Original version is 4-channel, please reach out if interested in hearing it

Contrails (2016)(stereo version)

Dub and dub-adjacent vinyl selected by Ava Delay ahead of her first set at Katzno. From day rave to dark cave to straight blazed — it’s not a journey, it’s a DJ mix.

@31avas

W Radio | 017 | Ava Delay

Silver and White (2012)
for trumpet, trombone, viola, cello, and snare drum

live recording from October 11, 2013
performed by wild Up at the Pasadena Conservatory of Music 

Score:
http://www.andrewnathanielmcintosh.com/scores/silver_and_white.pdf

Silver and White (2012)

Written for and performed by The City of Tomorrow woodwind quintet. Recording from April 2nd, 2015 at the Illinois State University RedNOTE Festival.

Scorrevole (in Italian: “flowing”, “gliding”) is a work about just that: fluidity and motion. This is not to say that the piece is a stream of consciousness, or that its dimensions are in constant or continuous flux. On the contrary, at many points the energy of the music comes up against obstacles, and must suddenly rearrange itself in a new formation. In this way, the piece is also about energy gliding between “states of matter,” whether the process of transformation is evaporation, or sublimation, or solidification.

Scorrevole's pitch world derives from a particular conception of harmony and melody: rather than use traditional musical intervals, such as major thirds and perfect fifths, to determine the relationships among notes, I instead developed a system where the differences in Hertz frequencies among notes are restricted to a small list of possible values. This has surprising results. Since frequency is a logarithmic scale relative to pitch (for example, a semitone up from middle C is a change of 15.6 Hertz, but a semitone down is only 14.7), an interval of 70 Hertz may be an octave for the bassoon, but only a semitone for the flute at the top of its range. Naturally, because not every frequency corresponds precisely to a note on the piano, I had to go outside of the standard twelve-note scale and make use of quarter-tones and eighth-tones. This is not something that is necessarily meant to be audibly perceived—after all, I think I would get quite bored if I tried to identify every interval in a Mozart sonata. Nonetheless, this method of working is very flexible and gives the whole work a certain unpredictable flavor, and I find that very colorful and attractive.

Image: from Van Gogh, Olive Trees in a Mountainous Landscape (1889)

Scorrevole (2015) for woodwind quintet

Power of the Script (2015) for Trombone and stereo fixed media

Broadcast live on WNYU 89.1FM in New York City on October 24th, 2017
https://soundcloud.com/white-material-records
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BIS Playlist

BIS Radio Show #909 with Young Male

Twice-monthly broadcast showcasing electronic music produced by members of the <a href='http://www.femalepressure.net/'>female:pressure</a> international network of female, transgender and non-binary artists practising in the fields of electronic music and digital arts.

Ina Kacz is a French/Polish Techno DJ and producer living in Lille.

Resonance Extra - 24/7 sound art, radio art and global music. Listen on DAB+ in Brighton, Bristol, Cambridge, London and Norwich or via http://extra.resonance.fm

female:pressure #34 - Ina Kacz - Thursday the 25th of July 2019

@kenneth-christiansen and his @echocord label have long been the guardians of dub techno’s second wave. More than that, the Dane & like-minded friends built their very own techno temple in the form of Copenhagen’s intimate @cultureboxcopenhagen. Kenneth worked there for years as artistic director until he decided to focus on his labels and his own DJ-career and left the venue in 2017. More than a decade after starting his label – and later the Echocord Colour sub-label – there have been more than 100 EPs and LPs that have updated continuously and revisited the techno and dub template and have very much contributed to the careers of those that release on it. Kenneth himself is also an accomplished producer as one half of @pattern-repeat with Dennis Bog (@resoe-baum-records). The pair release on their eponymously entitled label and excel at crafting moody, textured and widescreen techno sounds that draw on years of dub culture. As a DJ, Kenneth has been spinning ever since the beginning of the 90’s, immediately picking up gigs all around Europe because of his unique style and tightly honed sonic vision. Few people manage to remain credible and engaged with the underground over such a long period of time, but thanks to his devotion to his city, sounds and the scene, this man has managed it with ease and is here to stay. When Kenneth is djing his focus is mostly on Dub-Techno, but also he likes to spin the underground, edgy house and Techno. Kenneth is a vinyl DJ.
Stay Rave with #R13!

Contrails (2016)(stereo version)

M.O. Abbott

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