ABE nsemble

Gabriella Smart- Electric Crystal [neues Instrument], Ableton live

Johannes S. Sistermanns -  Transducer , Piezo Membran, Monochord, Stimme,  EAMusic Raum

Joachim Zoepf  -  Bassklarinette, Sopransaxophon,  Modularsystem, Max MSP

SPUREN KLANG II

The track is based on a line of text from Isaiah 35v8 (NIV), "And a highway will be there; it will be called the Way of Holiness; it will be for those who walk on that Way."  The passage got me thinking about how I could travel this highway of holiness, where it would take me, and what I would do when I reached its final destination.  The song acknowledges that the journey needs to take place with the Lord, He is all I need, “I am the way and the truth and the life. No one comes to the Father except through me" John 14:6 (NIV).  To be fit for travel, I need to be made righteous, which comes through faith and belief that Jesus has forgiven my ungodliness, "Because one person disobeyed God, many became sinners. But because one other person obeyed God, many will be made righteous" Romans 5:19 (NLT).  And where would this journey take me? Well, ultimately, to God's throne room where I will bow down before Him and Praise His Glorious Name!

Praise Your Glorious Name

Lyric Soprano Lilian Tong performs Gary Lloyd Noland's setting of Alexander Theroux's poem "What Was The Peach To Nellie Melba?" for soprano & alto, Op. 147, No. 7.

Poem by Alexander Theroux

Since you won’t be my lover,
I refuse to be your friend.
It may be vulgar, this
Hideous female trend,

But I’m one, like God, in number,
Choose to be unique;
You’re with me or against me.
I all or nothing seek.

Don’t ask me to be generous.
Pragmatism’s me;
Show me love and friendship?
Antithesis I see.

I’m a modern woman,
Of this please have no doubt:
I stick around with someone
Only if things work out.

If nothing’s finally in it,
What’s a visit or a drink
To a woman who wants marriage?
I go by what I think

And can measure in a man
Who’ll commit himself to me.
I go by what is solid,
Not by what I see.

No dyads or dichotomies
For such as me, my friend;
To me a value’s what
I’m holding in the end.

Don’t talk to me of grace,
You go from bad to worse.
Winter’s round the corner.
Put money in thy purse.

No parts for me, come round
When ready with the whole.
Bugger drinks and dinner.
I want to own your soul.

Poem copyright © 2015 by Alexander Theroux from Collected Poems (published by Fantagraphics); Music copyright © 2023 by Gary Lloyd Noland • BMI

For more information on composer Gary Lloyd Noland, please visit his website at: garynolandcomposer.com

WHAT WAS THE PEACH TO NELLIE MELBA? for soprano & alto, Op. 147, No. 7; poem by Alexander Theroux

commissioned by Wiener Konzerthaus
first performance ensemble Interface

Primordial Soup (2019) for ensemble

Heartbreak Jetz

Jo Jetz Unreleased-Water

Jo Jetz - All These Hoes Feat Lil Tony

Jo Jetz Unreleased- I Miss You

Jo Jetz Unreleased-Molly Say Hi

musician, improviser, composer, soundartist, sound technician, performer (*1955, Düsseldorf) - soprano. alto, tenor, baritone saxophone, bassclarinet, piano, live electronics, computermusic  (Maxmsp and Rtcmix )

-> studied music in Vienna and Cologne<-
-> working as a freelancer (musicteacher, artist) scince 1976 <-
-> startet as a jazzplayer (e. g. "Kölner Saxophon Mafia")<-
-> played also new music theatre, new music, rock music <-
->colaborates with actors, performers, dancers, visual artists <-
-> developed his own style and art of playing away from jazz! <-


- - - - ->  No easy listening stuff, nothing to relax, but interesting for open minded people ! <- - - - -

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

INC3NSE (Dave Bastow) is a studio-based producer and songwriter who creates music in both Contemporary Christian and LOFI-inspired genres—each crafted with distinct emotional and spiritual intent. Using a blend of DAW-based virtual instruments and live recordings, he builds immersive soundscapes that invite worship, reflection, and connection. His Contemporary Christian tracks carry devotional depth and expressive vocals, while his LOFI instrumentals offer gentle textures and contemplative space.
The name INC3NSE—like incense, a perfumed offering burned in places of worship—serves as a metaphor for his musical mission. The stylised ‘3’ adds a unique touch, symbolising a studio-crafted offering meant to evoke reverence and introspection.

Jovelle Ford, known by the stage name Jo-Jetz, has done. The thirty year old native of Cleveland, Ohio has had his share of challenges. But he has made every setback a comeback.  And now he’s ready to share his journey with the release of his solo debut EP, KING OF BANGERZ. The message and concept of the EP’s title is all inspired by his own personal experiences.  


With his two singles “One More Round” and “Potion,” it’s hard to really label him into one genre of music. His sound is one that’s versatile and complex consisting of elements from pop, trap music, and hip-hop. He not only carries his vocal style on the new EP, but also wrote all of his own original songs on the album. 


Jo-Jetz methodology is very energy driven, as he likes to take negative experiences and recycle them to become something positive. It’s easy to see why he considers the late Notorious B.I.G. as one of his greatest influences in wanting to pursue a career in music, due to a deep seeded connection in the lyrical content on struggle and triumph that the late rapper rhymed about. And Jay-Z because, he says, “he really made himself from nothing to something despite his environment.” Similarly, Jo-Jetz inspiration in recording his own music is drawn upon from situations he himself has been through in his past.


In 2012 Jo-Jetz faced a tough time when he relocated to Atlanta with aspirations of a better life. Instead, he found himself homeless and left penniless for a period of time due to a horrible scheme that was played on him and his grandmother by someone they trusted who convinced them to move to the city. “I remember taking naps at parks, hungry, waking up confused on where I was and then coming back to reality,” he recalls. Although things were rough, his experience made him stronger. During this time of turmoil, he realized his “formula” for songwriting, and took to music as an outlet of expression.  

“Music is love and I am music. I needed it to stay alive. It’s the only thing I had that couldn’t get taken from me.”

New tracks tagged #Tag:Contemporary