I love having aa poo to This song it really helps me each time for years and years

super ambiance , great mix and composing,

Love the sound. Good work. Cheers, Djxnbrs!!

In honor of International Strange Music Day, this coming Tuesday, I present:
CRUMBACHER - excerpt from “So Strange” from Incandescent (1985 Broken Records)
ANGEL ONTALVA & VESPERO – “Giant Lobster Between The Orkneys And The Hebrides” from Live at the Astrakhan State Theatre of Opera and Ballet (2020 OctoberXart Records)
ANGE – “Bivouac (Final) from “Le Cimetiere des Arlequins (The Harlequin cemetery) (1973 Phillips Records)
TRICOT – “Namu” from 3 (2017 Topshelf Records)
TTNG – “26 is Dancier Than 4” from This Town Needs Guns (2008 Sargent House)
DENNIS REA – “Wind Of The Worlds Nest” from Giant Steppes (2020 MoonJune Records)
THE MERCURY TREE – “Superposition Of Silhouettes” from Spidermilk (2019 self-released)
ZERO TIMES EVERYTHING – “Ice Report” from Sound Of Music (2021 Skrymir)
MIKE OLDFIELD – “Excerpt V from Amarok” from the single “Heaven’s Open” (1991 Virgin Records)
THE SHEEN – “Blind Astronomers” from The Sheen (2017 self-released)
TILTED AXES – “Strange Changes” (2020 self-released)
FRANK ZAPPA – “The Black Page #2” from Zappa In New York (1977 DiscReet Records)

KMIH-FM, 88.9 The Bridge

Pat's Picks - Episode 204 - Strange Music - 8-22-21

Revista Antro Positivo, edição 14. 
fevereiro de 2016. 
seção TODO OUVIDO, Celso Sim.

Raizes

Revista Antro Positivo, edição zero.
outubro de 2011.
seção TODO OUVIDO, Harry Crowl.
www.antropositivo.blogspot.com

Sicut erat in principio (1998), para orquestra

Revista Antro Positivo, edição 01.
janeiro de 2012.
seção TODO OUVIDO, Patrick Grant.
www.antropositivo.blogspot.com

Pestilence War Famine & Death CELLOS

PATRICK GRANT
FIELDS AMAZE  and other sTRANGE music
new recording + bonus tracks

1. KEEPING STILL                                                                         
percussion quintet

2. FIELDS AMAZE
homemade gamelan & microtonal keyboard

3. A VISIBLE TRACK OF TURBULENCE I  
flute, clarinet, & piano

4. EVERYTHING DISTINCT: EVERYTHING THE SAME
three keyboards in Gb just intonation & three percussion

5. A VISIBLE TRACK OF TURBULENCE II
flute, clarinet, & piano

6. IMAGINARY HORROR FILM - Part 1                                                   
electric chamber ensemble
     
     The Accident - Hospital - Nine Months Later
     Daily Living (Gnossienne) - Baiting the Trap - Going for a Drive

7. THE WEIGHTS OF NUMBERS a.k.a. Fractured Fictions
three electronic keyboards & drum kit

8. IMAGINARY HORROR FILM - Part 2                                                  
electric chamber ensemble
     
     Cemetery - Hitchhiker No. 3 - Unsuspecting Victim
     Under the Knife - Evening Prayer - New Day to Face - End Title

9. IF ONE SHOULD HAPPEN TO FALL
singer vs. thesaurus

Patrick Grant: piano, keyboards, electric guitars, gamelan, percussion 
John Ferrari: drums & percussion
Kathleen Supove & Marija Ilic: keyboards
Barbara Benary: additional gamelan
David Simons: Balinese percussion & theremin
Keith Bonner: flute
Thomas P. Oberle: clarinet
Darryl Gregory: trombone
Martha Mooke: viola
Maxine Neumann: cello
Mark Steven Brooks: electric bass
Alexandra Montano: vocalise
Lisa Karrer: lead vocal on If One Should Happen to Fall

All 2018 production, overdubs, revisions, and new stems recorded at Peppergreen Media, NYC and The Ferrari Factory, NJ. Mixed at Mercy Sound Studios, NYC - Garry Rindfuss: mixing engineer - Sheldon Steiger: album mastering - Patrick Grant: producer

Cover photo Cuming Co. Supercell, June 14, 2013 taken by Dave Rebot and used with permission. Flowchart graphic by Peppergreen Media. Album artwork, layout, and design by Eric Iverson. Peppergreen Media logo by Steve Ball. CD image collage inspired by Elément bleu XII, 1967 by Jean Dubuffet, photo credit: sTRANGE Music archive.

All music © 1997-2018 Patrick Grant and published by Peppergreen Media (ASCAP). This album ℗ 2018. All rights reserved.

08 - Imaginary Horror Film - Part 2

The first of four dances. Featuring

Ruth Rogers, violin
Nick Holland, cello
Gavin Greenaway, piano

From the album 'Into the Dreamtime'

Composed by Pete M. Wyer. Engineered and produced by Jim Unwin, Pete M Wyer, Executive producer

The First Dance

Kendall Singleton (voice) and Robert Matson (piano, guitar, computer, mandolin, arrangement) perform as a duo.  This is a traditional "murder ballad."

Down in the Willow Garden

Touchy Subjects: Wall of Solstice Mix, June 20, 5:43 EDT
performed by Tilted Axes: Music for Mobile Electric Guitars

guitars: Marcelo Andrade, Steve Ball (+ebow), Aileen Bunch, Michael Fisher, Michael Foti, Sudeip Ghosh, Christoph Goezten, Patrick Grant (+ebow), Daniel Reyes Llinas, Reinaldo Perez, Christopher Simpson

touch guitar (+ebow): Jeremy Nesse

bass guitars: Jane Mabrysmith, Sarah Metivier Schadt, Dan Cooper

drums & percussion: John Ferrari

record producer: Patrick Grant
media producer: Jocelyn Gonzales
admin assistance: Nora Elbayoumy

6/20 audio link launches at 5:43 pm EDT ... https://bit.ly/30QWpLV
6/21 video link launches at 8:00 pm EDT ... https://vimeo.com/426311201

"On June 20-21, 2020, Tilted Axes: Music for Mobile Electric Guitars will release new music (June 20) and an accompanying video (June 21) in observance of the Summer Solstice. The new work, entitled "Touchy Subjects", is a musical meditation on the real phenomenon of “touch starvation” that many are experiencing since the onset of social distancing. “Touchy Subjects” will explore the tonalities of touch, or the ways in which we physically connect to the world we inhabit have changed.

Tilted Axes is an award-winning project of post-rock composer and performer Patrick Grant, which brings specially composed electric guitar music into public spaces. The group consists of 15-18 electric guitarists playing instrumental music through wearable mini-amps, accompanied by percussionists and other performers. Stylistically the ensemble covers a number of genres, centering on the nexus where rock, classical, and world music meet. Tilted Axes performs in public squares, museums, and festivals of all kinds."

Info: http://tiltedaxes.com/tiltedaxes.html

Tilted Axes "Touchy Subjects” Wall of Solstice Mix, June 20, 5:43 EDT

"ricer[subway]car in seven segments" was germinated by two engaging, resonant sounds mapping closely to two notes one whole-step apart (E and F#) heard (and iPad-recorded with "immediacy-enhanced" fidelity) one evening (and only one evening – 6 January 2015) while waiting on the Brooklyn-bound Subway platform for the F Train at the NYC Delancey-Essex subway stop. I recorded the sounds with the intent of using them in a composition; here it is.

The first segment starts on E, centered on the subway recording (embellished with other sounds [roughly] of the E pitch class). The second segment adds the F# pitch class (again centered round field recordings form the subway. Each subsequent segment adds a pitch class, appearing in the following order: E F# G# D# A# C# B. This comes out as the E Lydian mode or – per the intentions of the last three segments, the Indian (Hindustani) Raag Yaman. Care is taken to approach B only in descent. 

In addition to the Raag Yaman structure in the last three segments, all seven segments use Indonesian gamelan samples for colotomic structure (i.e., where sequences of measures or fractions thereof are demarcated with a specific sequence of gamelan instruments). The ketawang structure is used here. It has fifteen periods marked by a gong strike and one period (the “Wela”) where there is no gong strike. The sequence is as follows:

Kempyang	Ketuk	Kempyang	Wela
Kempyang	Ketuk	Kempyang	Kenong
Kempyang	Ketuk	Kempyang	Kempul
Kempyang	Ketuk	Kempyang	Gong Suwukan
This structure is at times modified, especially for the time signatures in 5/8 rather than 4/4.

Other gamelan instruments (e.g., slentem, bonang, demung) as well as a drum kit are used during the first four segments of the piece. For the last three segments, sampled Indian tabla drum passages are used for percussion.

Edited segments of the initial subway on-site recording (known by the term “field recording”) are used in the first three segments of the piece. The entire subway recording is played through once for the last three segments of the piece.

Glenn Cornett
International Strange Music Day (24 August), 2020

ricer[subway]car in seven segments

In celebration of International Strange Music this past Monday, here is a set of wonderful, strange music:
PATRICK GRANT – “The Weights Of Numbers” from the album Fields Amaze and Other sTRANGE Music (2018 Peppergreen Media)
KOENJI HYAKKEI – “Palbet Tissilaq” from the album Dhorimviskha (2018 Skin Graft Records)
KAYANZA – “Salutation Akazehe” from the album Burundi: misiques traditionnelles (2015 Ocora Radio France)
THE HU – “Wolf Totem” from the album Gereg (2020 Better Noise Music)
KATAJJACOUSTIC (with TERRY BOZZIO) – Play Song 2 (recorded on 1 July 2015 at the “Mon Ami”, Weimar) (Terry Bozzio from Reality Tour Drumset video, DrumChannel.com)
CHON – “Dew” from the album Newborn Sun (2013, self-released)
STEVE BALL’S TINY ORCHESTRAL MOMENTS (feat. JULIE SLICK) – “Cooking For Everybody” from the album Improvisations (2017 Ballistic Music)
KEVIN GILBERT – “Shadow Self” from the album Thud (1995 PRA Records)
KING CRIMSON – “FraKctured” from the album The ReconstruKction Of Light (2000,2019 Virgin, DGM)
TALKING HEADS – “The Overload” from the album Remain In Light (1980 Sire Records)

KMIH-FM 88.9 The Bridge

Pat's Picks - Episode 153 - Strange Music - 8-30-20

Logic Audio Lego.  Loops and Faffing About.

08 - Imaginary Horror Film - Part 2

Patrick Grant 7

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