brain storm

Temporary stuff

Contemporary composer's born in 1984. Please do not hesitate to send me names to add to the list.

1984

Bombs Of Beirut | Kronos Quartet (live at The Greene Space)

Cinephile (featuring Christopher Cazenove) Lyrics by:Cinephile

He loved movies
He loved The Big Sleep,
The Big Chill and The Big Easy

He loved Al Pacino in the Godfather
And Rita Hayworth in Gilda
He loved the golf match in Goldfinger
And the sharp twist in the Crying Game

He loved westerns where
The morality of the hero was suspect
And romances where her true love
Was there in front of the heroine from scene one

He loved period drama
And samurai epics
And political thrillers
And detective features
But most of all
He loved movies of his wife

Our firm always gave him the most
Personal of attention
And by the time he died
None of his friends were left alive

So as junior partner I got to spend a week
In his Primlico townhouse
Sifting though books, suits, furniture
And sixty-three cans of super 8 film

He was known to sit in his study
Into the small hours
Alone with the flickering screen
A glass of wine and the quiet
Chattering of the projector

Each reel had a date inscribed in careful black ink
I watched them from first to last
In that same study where
The curtains drawn and a pot
of Darjeeling by my elbow
They were all studies
Portraits if you will

In the early sequences she is shy
Hiding behind doors
Raising her hand above the shot
Her plain gold wedding-band prominent

After a spool or two she relaxes
And begins to play to the camera
Spinning in the garden
Swirling a scarf around her head
Blowing kisses and pointing a stern finger

The subsequent reels are the most intimate
As she learns to forget she is on film

We see her reading at the window
Nibbling her nails, talking on the telephone
And slowly, dreamily combing her hair

In one feature length sleep sequence
She barely moves and eyelid

But the cracks begin to show after ten
or eleven spools
Where once she was relaxed
She is now uncomfortable in the frame

Her expression, her whole body language
Becomes defensive and strained

Still the images continue recording
Her in the same locations
Around the house, the same outfits

With a hand on her hip
She lectures a point beside the camera

She waves at him to stop filming
Yet the footage continues unyielding
And the reels stack up

Repeatedly shot after shot after shot
She leaves various rooms
Trapped for a few seconds she screams
In silence, tearing at her hair
And eventually she throws things

Their marriage lasted eight and a half months
And for thirty-seven years afterwards
He sat until late in his study
Feeding the projector and blinking in the half-light

He loved those movies

Cinephile (featuring Christopher Cazenove)

Geju exploring trippy groove 
Sketch by Alena Rakova 


Bandcamp: https://geju.bandcamp.com/track/niv
Beatport: www.beatport.com/release/niv-remixes/1872013
itunes: itunes.apple.com/ru/album/niv-rem…d1164470795?l=en

Download

Niv (Original mix)

METANOIA014
February, 29th 2016

bandcamp: http://bit.ly/2f9MJow
beatport: http://btprt.dj/2eosEts

01. @iorie - Fool
02. iorie - Fool (@lukasendhardt Remix)
03. iorie - Creep

Within the cards of life there lays many options,
many paths, and many outcomes.

Out of these which path shall we pray for,
some might say the King, some might say the queen.
yet its the wisest of us that shall pick the path of The Fool,
for the fool is the wild card, the Fool is number 0,
the number of unlimited potential falling either in the beginning or the end.

Lets be The Fool today.

Fool

iorie - Fool (Lukas Endhardt Remix)

Time Warping I ... et l'émergence de l'expression (2016)
for viola and live electronics

viola: Nicolas Loubaton

Time Warping I ... et l'émergence de l'expression

The Heaviness of Air

High-quality downloads and CD of the studio recording is available at
https://dalniente.bandcamp.com/album/object-animal

SWAN (2016-17)

a - Korridor/Karaoke Mahshar - 00’00’’-19’42’’

b - Rod Modell - 19’43’’-28’49’’

—

Recording of the premiere performance at the Constellation Chicago, 02/19/2017.

—

Murat Çolak - Score & Electronics

Ensemble Dal Niente - Amplified Instruments:
Michael Lewanski - Conductor
Emma Hospelhorn - Flute, cymbals
Anna Velzo - Oboe
Katie Schoepflin - Clarinets
Gregory Beyer - Percussion
Mabel Kwan - Piano, bass synthesizer, percussion
Tara Lynn Ramsey - Violin
Chris Wild - Cello

Dan Tramte - Video (Excerpts: www.youtube.com/watch?v=eO5EQIlIf24 - www.youtube.com/watch?v=qG70iw4TSFU )
Nolan Chin - Live Sound
David Zuchowski - Recording

Live recording mixed & mastered by Murat Çolak

—

Video of the premiere performance: https://www.youtube.com/watch?v=RwNBIJ2KKLE&feature=share

—

Interview with Emma Hospelhorn: http://www.dalniente.com/news/2017/3/26/interview-murat-olaks-swan

—

Thanks: Ben Melsky, Grace Heatherington Tilka, Constellation Chicago, Frequency Series.

—

SWAN is commissioned by NewMusicUSA

SWAN

For the version of this piece for soprano, electric guitar, and electronics performed by Hasco Duo, please listen here: https://open.spotify.com/track/1pIbv36vViE73AODhL5MxW

Para la versión de soprano, guitarra eléctrica y electrónica interpretada por Hasco Duo, seguir este enlace: https://open.spotify.com/track/1pIbv36vViE73AODhL5MxW

Program note/Nota al programa (abajo)

Y bien canta, 
bien habla,
bien conversa,
bien responde,
bien ruega;
la palabra no es 
algo que se compre. 

Huehuetlahtolli (de “Palabras de 
exhortación con que una madre así 
habla, así instruye a su hija”)

Ancient voices—silenced and lost to perpetuity, they attempt to speak to their mestizo offspring which is at once theirs and other's, being and not-being, center and margin, both and neither. 

When I read the words Tinta Roja, Tinta Negra, I immediately relate them to the rhetorical figure that the ancient Aztecs are thought to had used to refer to their codexes, and therefore, to wisdom. Red Ink, Black Ink, the same words but in another language, resonate in my head as rhetorical figures for loss and profit within a capitalist economic context. 

Even if these voices succeeded in formulating a word, we would never know exactly what they meant, what those words meant to them, from which dismissed epistemologies they come from, what their real message was. The only thing we can do is resonate with them, beautifully or horribly, and listen.
--
Voces ancestrales, silenciadas y perdidas para siempre, intentan comunicarse con su descendencia mestiza. Descendencia suya y "otra", centro y margen, ambas y ninguna.

Cuando leo las palabras "Tinta Roja, Tinta Negra", se me viene a la mente la figura retórica que se cree que los antiguos Mexicas usaban para referirse a sus códices—y por ende, a la sabiduría. De otra manera, las palabras "Red Ink, Black Ink"—las mismas palabras, únicamente en otra lengua—resuenan en mi cabeza como símbolos de ganancia y pérdida dentro de un contexto económica capitalista.

Incluso si estas voces lograran formular una palabra, nunca podríamos saber exactamente qué es a lo que hacen referencia, lo que significan para ellas esas palabras, de qué epistemologías perdidas provienen, cuál es el mensaje que intentan comunicar. A mi parecer, lo único que podemos hacer es resonar con ellas, de manera agradable o desagradable, y escuchar.
--
Performed by and dedicated to Quince Contemporary Vocal Ensemble*
(recording of the world premiere at Constellation, Chicago, February 2017)

Special thanks to:
-Pablo Abelardo Mariña** who coded the Max MSP patch used for matching the electronics with the timer. 
-Gabrielle Barkidjija who helped me recording some of the sounds with which I composed the electronic part***

*http://www.quince-ensemble.com/
**Pablo is an amazing Max MSP coder and is a great person to work with. His email: bigbirdamarillo@me.com
*** Gabrielle Barkidjija's Facebook page: https://www.facebook.com/Gabrielle-Barkidjija-mezzo-soprano-692339074260571/?fref=ts

Tinta Roja, Tinta Negra  / Red Ink, Black Ink (live)—Quince Contemporary Vocal Ensemble (2017)

abgrund, for ensemble (2017) 

Lucerne Festival 
KKL Luzern 23.08.2017

Lucerne Festival Alumni Ensemble:
Raoul Cho flute
Tomonori Takeda clarinet
Vitaliy Kyianytsia piano
Bill Solomon percussion
Marina Kifferstein violin
Rachel Koblyakov violin
Francesco Tosco viola
Simon Thompson cello
Juan Díaz double bass
Conducting:
Mehdi Lougraïda

abgrund, for ensemble

trace - écart - for harp, electric guitar, cymbalum, double bass & electronics

Ensemble C Barré
Eva Debonne - harp
Cyril Dupuy - cymbalum
Thomas Keck - guitar
Charlotte Testu - double bass

Mónica Gil & Rudy Romeur - sound engineering

Premiered @ Festival Messiaen au Pays de la Meije 2017
Recorded @ GMEM Marseille

trace - écart [2017] • for harp, electric guitar, cymbalum, double bass & electronics

I'm a composer, mastering engineer, mixer and record producer based in Manhattan.

This is where I share my compositions and sonic ideas.

All inquiries: 
muratcolakmusic@gmail.com