ярость панка, мощь индастриала, экспериментальность альтернативы и магия гиперпопа

Contact/bookings: ice.eyes.2012@gmail.com

Douglas Boyce writes chamber music that draws on Medieval and Renaissance traditions and modernist aesthetics, building rich rhythmic structures that shift between order, fragmentation, elegance, and ferocity.  His approach is deeply historical and broadly philosophical.  Many of his works have an direct historical touchstone, such as his  Etude on 'Pymalion qui moult subtilz estoit' (A Book of Etudes, Quire 4, No. 1) which features quotations of and elaborations on music from 15th century Cyprus, or La Deploration for clarinet, violin, and cello, which couples Josquin's lament on the death of Ockeghem with works of his own teacher Robert Suderburg, synthesizing jazz and Renaissance approaches. Other works draw on sources from antiquity, such as the string quartet Alcyone, a partially spoken setting of a tale of Ovid's Metamorphoses, or Tethys, a violin concerto which links the sea-goddess to geological time and tectonic change.
Literature and philosophy are also significant points of articulation: The Winter Journey, a current project commissioned from the ensemble Yarn|wire, is based on a short story by George Perec; the story itself  takes the form of a 19th century fairytale of memory and loss, and so the new composition will involve transformation of the French and German art-song tradition of the 19th and early 20th century. A song cycle focused on settings of American poets (Jorie Graham, BJ Ward, Wallace Stevens) entwines with the poems fragments from philosophers (James, Aristotle, Husserl, Bergson). The piano trio 'Fortuitous Variations' draws upon the language of William James and C.S. Peirce in inspiration, organization, character markings, and movement titles. This approach and the works themselves connect to many aspects of the scholarship in the humanities, including history, anthropology, literary studies, and philosophy. 
His works have been praised many times in the press.  Regarding his Quintet “l’homme armé”, Allan Kozinn wrote “he couches [the medieval melody] in such thoroughly modern scoring that the ear is lured to other things, including the juxtaposition of eerie string writing with playful material for the clarinet and piano, or the lively interplay among all five instruments.” (The New York Times March 12, 2005.) Regarding A Book of Songs (2006), the Stephen Brookes wrote “[they] can only be described as drop-dead beautiful. Easily the most captivating works on the program, these songs of love and death are extraordinarily well written and insightful.” (The Washington Post May 23, 2006)  Regarding La Déploration, Corinna da Fonseca-Wollheim wrote that "...the violinist, cellist... and clarinetist... spread out throughout the crypt. Against vaporous harmonics and ghostly fragments of Renaissance music played by the strings, [a] warm, clear clarinet announced itself as very much alive as it sashayed in and out of blues territory and laughed in the face of their mournful keening." (The New York Times May 17, 2015.)
He has been awarded the League of Composers ISCM Composers Award (2005), the Salvatore Martirano Prize (2006), and the Robert Avalon Prize (2010), and a Fromm Commission (2012). He is a MacDowell Fellow in Winter 2017, and an Avaloch Music Farm Fellow in Fall 2017. His music has been performed by  counter)induction, Aeolus Quartet, Inscape Chamber Orchestra, Redlight Music, Dan Lippel, Robert Baker, Trio Cavatina, Edge Ensemble/Contemporary Music Forum (DC), pianists Ieva Jokubaviciute (Shenandoah University), Alice Belem (State University of Minas Gerais), and Ning Yu; cellists Elise Pittenger (Federal University of Minas Gerais) and Schuyler Slack (Richmond Symphony) and Lori Barnett (George Washington University); and clarinetists David Jones (Washington National Opera), Benjamin Fingland (Dorian Winds).
He is a founding member, curator, and composer-in-residence of counter)induction, a composer/performer collective active in the New York region (www.counterinduction.com).

577 Records is proud to be celebrating its 24 year anniversary.  The legendary music master Daniel Carter was one of the first people 577 cofounder Federico Ughi met soon after arriving in New York from Italy in 2000, after a brief stint in London.  It was a meeting of like minds and shortly thereafter the two started a series of house concerts at 577 Fifth Avenue in Brooklyn, the apartment where Federico was living at the time. The spontaneous nature of the concerts along with the incredible caliber of the deep downtown underground music they were able to present inspired them to bring the unique nature of what they were doing to a wider audience and they founded the label 577 Records to further that mission. 

577 Records started the New York Forward Festival in 2015 to mark the momentous occasion of Daniel Carter’s 70th birthday, now with festival editions happening in Morocco and Italy as well, and the international residency program Sounds of Freedom, in which active musicians are awarded the opportunity to develop their own sound, skills, and improvisation concept.

100% of profit from the sale of most of these albums goes to the musicians.

 

 “Guided by a mission to capture the ephemeral, to keep jazz relevant, and to foster a collaborative community of artists, the music 577 releases is timeless, masterful, and mystical.” - Bandcamp

“the music of new possibilities, full of spirituality and introspection, an alternative that did not need volume or screaming at the top of your lungs to position itself, and coupled with a deep sense of pulse and the blues.” - Free Jazz Blog

“577 Records, the musical home of the daring and the brave” - All About Jazz


577 Records
Brooklyn, New York
www.577records.com
©+℗ 2025

radio host & dj playing jungle breaks combine with other genres from different hemispheres
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Black Bough was formed in the early winter light of 2007 out of an overwhelming need to kick back against the corporate interests that are destroying the seeds of originality and growth in local cultures. The label is dedicated to music that crosses, without prejudice, the boundaries between the forward thinking punk rock that grew out of the 1980's hardcore, experimental music, avant- and art-rock, electro-acoustic constructions, old world Gospel, and contemporary left-field music.

get in touch at contact@blackbough.ca
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