Epic Games - Among The Us

Da Evolução das Técnicas - Concerto em 12 quadros, para violoncelo, madeiras, percussão e cordas, sobre o painel "História da Técnica", de Poty Lazzarotto (1924-1998).

"From the Evolution of Techniques" - Concerto in 12 tableaux for cello, woodwinds, percussion and strings, after Poty Lazzarotto's tiles' panel "History of Technique". 
1. A Mão Humana (The human hand)
2. Fogo (Fire)
3. A Pedra (The stone)
4. Arco e Flecha (Arrow and bow)
5. A Roda (The wheel)
6. A Lavoura (Farming)
7. A Imprensa (The press)
8. Passarola (Balloon)
9. Máquina a Vapor (Steam machine)
10. Eletricidade (Electricity)
11. Petróleo (Petroleum)
12. Energia atômica (Atomic energy)

Marcus Ribeiro, violoncelo
Orquestra Filarmônica da UFPR
Márcio Steuernagel, regente

Gravação ao vivo, Teatro da Reitoria da UFPR, Curitiba, em 26/07/2023.

Da Evolução Das Técnicas (2023) - Concerto em 12 quadros para violoncelo e orquestra

Ethan Hayden performs Dmitri Kourliandski's "Voice-off" (2008) live at 'null point 3: impossibilities' (November 15, 2014).

Program note:
The idea of the piece is the voice birth. It borns out of "side" noises produced by the vocal, breath and articulation systems. "Voice-off" means voice behind the screen. However, in this piece I was interested in overlapping different voice/sound layers. The vocal apparatus is divided into several independent lines/parts - sounds produced by lips, tongue, teeth, cheeks, gutter, vocal chords etc. Normal singing appears to be just one of many elements. All these elements are independent like instrumental parts in a chamber ensemble. Their counteraction forms a multilayer structure within which the "lips' part" can form a duo with the "gutter part", and the "vocal part" solo can rise over them.



Kourliandski - Voice-off

Live performance of my percussion quintet, "Four in the Morning, End of December" by the UB Percussion Ensemble, Tom Kolor, Director.

Four in the Morning, End of December - for percussion quintet

This year I'm kicking off a new mix series to celebrate the first 25 years of this century: 21st Century Music! Each mix will contain only music from this century. To kick things off, here's a mix of proper techno music from the beginning of the century. This is very personal for me, as this is a point at which I was really engaged with techno - listening to it, dancing to it, thinking about it, and playing it. This is the point when I was a student at Edinburgh University, and I was visiting the (sadly no longer with us) Studio 24 on Calton Road practically every weekend with friends to enjoy techno clubs like Dogma, Pillbox, Apex, Subtle Logic, and more. 

This was a time when techno was really fun and interesting, the time of 'hard grooves', of funky techno, of high impact, danceable music, before the walls of minimal closed in and techno got really, really boring for a while. There's been a revival of this style in recent years (see my Stranger tribute mix, for instance), which is not surprising, because this style of techno is just so much more fun than minimal.

Enjoy!

More techno mixes: https://soundcloud.com/sonicrampage/sets/techno-mixes

Read more about this mix (including my essay Edinburgh Techno Daze): https://sonicrampage.org/blog/2025/05/pearsall-presents-proper-techno-2000-2005-21st-century-music-001/

Recorded in Berlin, March 2025
100% Vinyl
(79:53, 183 MB, 320 KBPS MP3)

Tracklisting:

01. John Selway - Acid Morning [Aciieeed!]
02. Bryan Zentz - D-Clash (Slam Remix) [Intec]
03. Black Odyssey - The Stand [Blackflag]
04. Joris Voorn - Shining [Sino]
05. Eric Borgo & Dani Konig - Konetic [GoodLife]
06. Umek - Voices of Africa (Voice 2) [Primate]
07. Co-Fusion - 6 Angles [Pro-Jex]
08. Dave Clarke - Before I Was So Rudely Interrupted (Part 1 for the Floor) [iCrunch]
09. Sterac - Sinosphere (John Thomas Remix) [Sino]
10. Andrew Richley & Ryan Rivera - Backbiting [Primate]
11. Sonic Perverts - Slag [Punish]
12. Robert Hood - Outlast [M-Plant]
13. Technasia - Nebula Dance [Technasia]
14. Umek - Beroxan [Consumer Recreation]
15. Steve Rachmad - Zero ID 2 A1 [Zero ID]
16. Christian Smith & John Selway - Giant [Bugged Out!]
17. DJ Misjah - Nova [Zync]
18. Mike Wade - Evolution [Archetype]
19. Punisher - Seduction [Seismic]
20. Sonic Perverts - Strip City [Punish]
21. Pounding Grooves vs DJ Jerome - Scratch [Fine Audio]
22. DJ Misjah & Groovehead - Trippin' Out (DJ Steph K & K-Drive Remix) [X-Trax]
23. Lochi - Acid Junkies [Routemaster]
24. Technasia - Acid Storm [Technasia]
25. The Advent - Ice Planet Theme [Kombination Research]

Blog

Proper Techno 2000-2005 [21st Century Music 001]

Very excited to present the next mix in the 21st Century Music series, where I dig into my collection to pull out some gems from the first 25 years of this century. With this edition, I decided to have some fun with dubstep from the last decade - heavy bass, dread vibes, deep atmospheres. One for the eyes down crew!

Read about the mix: https://sonicrampage.org/blog/2025/06/pearsall-presents-modern-dubstep-2014-2024-21st-century-music-002/

Check out more dubstep mixes from me: https://soundcloud.com/sonicrampage/sets/dubstep-mixes

Recorded in Berlin, April 2025
100% Vinyl
(50:46, 116 MB, 320 KBPS MP3)

Tracklisting:

01. Nomine - No Teardrops [Nomine Sound]
02. Kodama - Sparkalus [Rarefied]
03. Rareman - d20 [Juan Forte]
04. WZ - 3 Strikes [Innamind]
05. J:Kenzo - Shijima's Revenge [Infernal Sounds]
06. Kaiju - Fear No One [Deep Medi Musik]
07. Hebbe - Industry Standard Dub [Basskruit]
08. Sepia - Music Box VIP [Gourmet Beats]
09. TMSV - Complex Flashback [Perfect]
10. Distinct Motive - Therapy [Sub Merchants]
11. RDG - Born and Grow [WAR]
12. Kromestar - Lion and Thunder [Lion White]
13. Akcept - Deflecting [Juan Forte]
14. Dominus & Daffy - Warlord ft Riko Dan [ec2a]
15. Truant - Bank Holz [Juan Forte]
16. Truth - Questions [Artikal]
17. Commodo - Deft 1s [Black Acre]
18. Mantra - Schemes & Dreams [System Music]
19. Quartz - Abstract [Hotline]
20. Om Unit - The Canopy (Armageddon Style) [ZamZam Sounds]

Modern Dubstep 2014-2024 [21st Century Music 002]

Performed by Thymolphthalein: Natasha Anderson (contrabass recorder/computer), Will Guthrie (drums), Jerome Noetinger (tape machines/electronics), Anthony Pateras (prepared piano/analogue synth), Clayton Thomas (double bass).

Available on Thymolphthalein: Mad Among The Mad (IMM002). Physical available from Metamkine (FR), Cargo (UK) or Squidco (US). High-resolution digital soon available from Bandcamp.

Release date: 21/09/2015.


IMM002 - Thymolphthalein: Awareness Of Time Is An Assault On Time [Ljubljana]

Tracy Bedgood, Tuba


Score is available at jlacomposer.com

Tragic Suite for unacommpanied tuba, 5 Movements

Ensemble: Decibel
Mixed by: Veronika Tabakova

Based on the letter I

GARY LLOYD NOLAND'S MUSICAL PORTRAIT OF FRENCH-ITALIAN MEZZO-SOPRANO LEA DESANDRE Op. 117, No. 8, performed by the FIFTH SELF ENSEMBLE, featuring pianist GARY LLOYD NOLAND, oboist DOLLY GRAY LANDON, French hornist LON GAYLORD DYLAN, ghuzengist DARNOLD OLLY YANG, and double-bassist ORLAN DOY GLANDLY. 

Having attended a recital of musical portraits by Virgil Thomson in Boston back in the 1980s (with the composer present, whom I briefly met), I have decided to embark upon a similar pilgrimage. This piece is a delicately sculpted, multi-layered comprovisation and is the eighth in a series of such musical portraits of artists, writers, and performers who emanate powerfully luminous auras in their work, which thus far includes portraits of the American novelist, essayist, and poet Alexander Theroux, American playwright David Hirson, South African composer/conductor Michael Rosenzweig, English Writer Will Self, French novelist, essayist, poet, actor, filmmaker, and singer Michel Houellebecq, American feminist academic and social critic Camille Paglia, and German operatic tenor and composer Daniel Behle.

MUSICAL PORTRAIT OF FRENCH-ITALIAN MEZZO-SOPRANO LEA DESANDRE Op. 117, No. 8

curated by... few, loved by none 

bookings: cass@mbartists.co.uk

more info: https://saus.gratis   ฏ๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎๎

Heb nog een cup noodles liggen hier omdat een vriend hem te spicy vond en hem dus maar heeft achtergelaten (hij had er 2). Wil jij hem?

What have you rather, explorers of the internet?

midas penis

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

Composer/Conductor/Trumpeter/Improviser/Educator

check out www.soundcloud.com/dbtrumpet for more of my trumpet/improvisational work!

composer. performer. Artistic director of Waste Paper Opera

Anthony Pateras (b. 1979, Naarm/Melbourne) is an Australian composer, pianist and electronic musician. 

His solo practice spans modern classical works, acousmatic diffusion, free improvisation, film soundtrack, psychoacoustic experiments, prepared piano and various mutations of electronica. 

Performing hundreds of concerts worldwide, Pateras has co-founded the Pateras/Baxter/Brown & North of North trios, the piano-drums duo PIVIXKI, the electro-acoustic ensembles Thymolphthalein & Twitch, the abstract hip-hop quartet Beta Erko and the experimental rock bands Sulla Lingua and tētēma.

Joe L. Alexander is an American composer of band, orchestral, chamber, choral and electronic music.  His music has been performed throughout the United States, Germany, Greece, Italy, Russia, Scotland, and South Korea. Many of his compositions have been performed on recitals/conferences of the Birmingham Art Music Alliance; the College Music Society; the Louisiana Composers’ Consortium; National Association of Composers, USA (NACUSA); the Society of Composers, Inc.; the Southeastern Composers’ League; the Southeastern Electro-Acoustic Composers Collective; and the International Tuba Euphonium Association. His music has been featured at Bowling Green State University’s annual New Music & Art Festival, the Electroacoustic Barn Dance, the Birmingham New Music Festival, New Music on the Bayou Festival and New Music for Young Ensembles Composers' Competition. His "Two Bryant Songs" (soprano, Bb clarinet and piano) are recorded on Winds and Voices, by Living Artist Recordings; his SATB choir piece, "Summer Sounds Beckon Me" (text by L. B. Morgan), is on Ablaze Records' New Choral Voices, Volume 3; his "Chopawamsic" (trumpet and soundfile) is on Ablaze Recordings' Electronic Masters, Volume 7; and the SATB choir piece, "The Lighthouse" (text by Katie Ballinger), has just been released on Ablaze Records' New Choral Voices, Volume 4. Recently, his "Partita #4 for unaccompanied euphonium" was selected for the Semifinal Round of the 2019 International Tuba Euphonium Association's Solo Euphonium - Artist Division competition at the ITEC in Iowa City, Iowa. In 2012, Alexander was the commissioned composer for the 2012 Louisiana Music Teachers Association, and in 2017, he was the Mississippi Music Teachers Association commissioned composer. Dr. Alexander is a Professor of Music at the “W” where he teaches Theory, Composition, Music History and Brass. 
www.jlacomposer.com/

Harry Crowl is a Brazilian composer and musicologist (Belo Horizonte, Oct. 6th, 1958). His early music studies took place in his native town and later, in the USA, where he took composition lessons with Charles Jones, both privately and at the Juilliard School of Music. Further composition studies later, took place under Peter Sculthorpe in Dartington, UK. He has written numerous chamber, orchestral and vocal works, as well as incidental music for film and theater. His music has been performed all over the world, especially is Europe and Latin-America.

Ethan Hayden is a composer, performer, and author based in Buffalo, NY. He has written music for various performing forces, ranging from solo instruments to large ensembles, often involving electronics. Recent works reflect an ongoing interest in language, phonetics, and sound poetry, as well as large-scale explorations of timbre, resonance, and sonic spectra. His music has been performed at conferences and festivals around the world, most recently at Ljudbio (Uppsala, Sweden), INTIME (Coventry, UK), Toronto Electroacoustic Symposium (Toronto, ON), and E-Poetry (Buenos Aires).

Ethan received his Ph.D. in Composition from the University at Buffalo in 2016. He also holds undergraduate degrees in Composition and Theory from the University of North Texas, and an M.A. in Composition from UB. His principal teachers have included Cort Lippe, Jeffrey Stadelman, Joseph Klein, Andrew May, and David Bithell. In 2015, Ethan joined the Digital Music Production faculty at Buffalo State College where he teaches courses in sound synthesis, electronic music composition, and serves as interim-director of the Digital Music Ensemble.

Ethan is the Associate Director of Wooden Cities, a Buffalo-based ensemble seeking to help increase the performance and awareness of contemporary music in Western New York. With Wooden Cities, he has co-produced over thirty concerts of new and experimental music across the Midwest, frequently premiering new works by emerging composers. As a vocalist, he regularly performs contemporary music, sound poetry, and improvisational works. Recent performances have included pieces by Georges Aperghis, Charles Ives, Dmitri Kourliandski, Kurt Schwitters, and John Zorn, as well as collaborations with Steve McCaffery and Null Point.

Also active as a writer and researcher on music, Ethan is the author of Sigur Rós's ( ), published as part of Bloomsbury's 33⅓ series in August 2014.

American in Berlin! I've been a dj since 1997, playing across a wide range of dance music genres, as you can see from the variety of mixes. I love it all! 

Want recommendations? Drop me a DM and I'll hook you up. 

I sometimes play at Berlin clubs, but mostly I am a hardcore vinyl collector and bedroom mixer. Check out my blog at www.sonicrampage.org/blog

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