ok, I'm not fluent on Pig Latin, but hey: during this Friday morning I managed to get two sentences done:
First sentence goes B-C-E-G-A-B8-Eb-D8
Second sentence goes B-C-A-E-B8-Eb-G-D8-E8-D8
Then I  transferred the initial two note "consonant cluster" to the end of the phrase and added a vocalic syllable in the form of a low A note (upright bass and treated piano)

00:00 First sentence B-C-E-G-A-B8-Eb-D8
00:13 Second sentence B-C-A-E-B8-Eb-G-D8-E8-D8
00:32 First sentence in Pig Latin
00:45 Second Sentence in Pig Latin

Added some filtered delays and reverbs.
I finished with a last low note and some acoustic detritus from the piano+fx return

Composed and performed by DD
Photo by Boudewijn Huysmans

@disquiet

Created on Friday March 12th for the 480th junto project.

https://llllllll.co/t/disquiet-junto-project-0480-ongsay-aftcray/

This project is informed by Pig Latin. From the Oxford English Dictionary: “a secret language formed from English by transferring the initial consonant or consonant cluster of each word to the end of the word and adding a vocalic syllable.”

Miniature 4 Pig Latin (disquiet0480)

Recorded at the Santa Rosa de Lima church in Buenos Aires, this church-bells concert was recorded specifically with the idea of making an album, meaning the editing & sequencing lends itself to a deep listening experience, compared to the energetic, yet rough (and still highly recommended) live experience.

Joined by Andrés Serantes, Diego Martinez & Margarita Rodriguez Planes, the composer & percussionist Federico Orio set out on this adventure on a realm on which he's by now an expert, to capture this holy bronces which, out of their sacred context, are left with their essential property: a giant percussion instrument. It's hard to imagine the strength of their sound-waves vibrating the interpreters' bodies, yet the listener here can experience the droning, hypnotic motion and strength of the gargantuan shaking frequencies.

Make no mistake, this is a classical music album, a percussion composition and an ensemble performance. It's works both as a deep listening experience and as a soothing balm of sound in the background. Dive in!

Repiques

The piece is dedicated to John Michael Tresh.

Performed by Voce Chamber Choir (United Kingdom) and conducted by  Edward Watkins.  Recording by Linas Paulauskis

Nunc Dimittis

Performed by Ben Clark and Antonin Granier on 13.6.19 at LOOSE, LINE, LAYER in St. Mary-at-Hill, London.

The piece invites a child-like curiosity towards the instrument, and simply investigates its sonic possibilities. The materials arose from working collaboratively with percussionists Ben Clark and Antonin Granier. The first movement explores flexibility, the second looping elements, the third resonance.

Piece for three tuned cowbells (2019)

comp_3-4(2019)

Please consider following/supporting my music over at https://blindcrake.rewardmusic.com/

Thanks for listening!

Kayenta

Boson Spin - Almost forgotten

baked tape

Performed by 
Daniel Diaz: upright bass, acoustic piano, treatments
Miguel Ballumbrosio: Cajon

For this haiku:
slanting rain,
gentle breeze,
no need to return home

haiku by Zhang Zhihe
music composed by DD
photo by Jan Kopriva

@naviar-records

No need to return home (naviarhaiku362)

We're invited (probably by some kind of mistake or mental confusion on the behalf of the label) by WASSER BASSIN, amazing label from Porto, Portugal, to be a part of SIROCCO vol2 - a fantastic (and questionable) compendium of Portuguese experimental music (and non-music. Check the labels page @wasserbassin
On the 26th Feb of this year we predicted lockdown on Portugal, so we reocrded COVCOV!
By the way we're the only band that already used masks before all this!

COVCOV

Sharpener

Sylvia Lim is a composer based in the UK. Her works are intimate, exploring a small amount of material in depth. She is interested in the materiality of sound, notions of close listening, perception, rawness and instability.

Piece for three tuned cowbells (2019)

Sylvia Lim

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Timothy Maloof

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