No more music?  Where is the rest of you stuff?   What instrument are you playing?

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
A SEQUENCE OF WAVES
(twelve stories and a dream)

Patrick Grant: guitar, bass, viola, piano, keyboards and percussion
John Ferrari: drums, mallet instruments and percussion
Nick Didkovsky: guitar solo on “Primary Blues"
Dan Cooper: 7-string electric bass
Lynn Bechtold: violin
Dan Barrett: cello

Recorded at John Kilgore Sound NYC, the NYU Film School, Peppergreen Media NYC, and the Ferrari Factory NJ
Album mixing engineer and recording engineer for Kilgore sessions: Garry Rindfuss
Recording engineer for NYU Film School sessions: Jocelyn Gonzales
Mixed at Mercy Sound Studios NYC

Mastered by Sheldon Steiger
Produced by Patrick Grant

Prepared piano samples on “Lucid Intervals” were created separately by David Borden (Mother Mallard’s Portable Masterpiece Co.) and generously supplied for further manipulation here.

The vocal track for “Sevens Years at Sea” (Sept Ans Sur Mer) is from “A Treasury of Library of Congress Field Recordings” (Rounder Records 1500) and is now in the Public Domain. It was recorded by John and Alan Lomax in Louisiana in 1934, and is sung by Elita, Mary, and Ella - the Hoffpauir Sisters.

The field samples and tuned sounds on “One Note Samba” were recorded for this project in New York City and in São Paulo, Brazil.

All titles on this album are by Patrick Grant and published by Peppergreen Media (ASCAP) except for “One Note Samba” by Antônio Carlos Jobim and published by Universal Music. Licensing for this recording is provided through the Harry Fox Agency.

Guest soloist Nick Didkovsky is a guitarist, composer, and band leader.

Album photography: Bob Krasner
Album graphics and layout: Eric Iverson
Peppergreen Media logo: Steve Ball

Thanks and acknowledgements: ASCAP, Gary Beeber, Composers Concordance, The Coney Island Film Festival,  D’Addario Strings & Planet Waves, Electro-Harmonix NYC, O Festival Música Estranha, The Film School at NYU Tisch School of the Arts, Robert Fripp, The (formerly known as) Guitar Circle of North America, Independent Music Promotions, Korg USA/Vox Amps, James Moore, James Gill (Mercy Sound), Milica Paranosic, Gene Pritsker, Tom Redmond, Som do Brasil on WKCR, Preston Stahly, Kathleen Supove, Tribeca New Music, and Tiny Orchestral Moments (Seattle)

℗ and © Peppergreen Media, 2017. All Rights Reserved.
www.peppergreenmedia.com

12 To Find a Form That Accommodates the Mess

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.

12 To Find a Form That Accommodates the Mess

Patrick Grant 7

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