Monsters

Piano I: Paul Çelebi
Piano II: Olivier Rabu

"Neige" d'Anne Hebert: http://www.barapoemes.net/archives/2016/09/07/34290920.html

Program Note:
Cent traces, sur de vastes plaines was inspired by Anne Hébert's poem "Neige" (snow). Submerged in its poetic image, the music follows its emotional trajectory and attempts to embody it through a language of resonance, harmony, and temporalities. The work was also peripherally influenced by the novel "Kamouraska" by the same author. Both texts depict a wintery dream-scape that devolves into a fever dream peopled with hazy memories. The opening five minutes contain three musical dreams composed using a collection of altered paraphrases from other piano pieces 'about' snow. These quotations appear the way characters in these dreams do: one might have an idea of who they represent from daily life (memory) even if for some reason they do not fully resemble that person. Over the course of the piece the boundaries between dreams erode and the recurring characters' identities become increasingly distorted. Musical memories appear, disappear and intermingle, culminating in a blurred mass and then a rupture.

Commissioned by the Luba Zuk Piano Duo Composition Competition.
Performed November 11th, 2019, Tanna Schulich Hall, McGill.
Composed January-May 2019 (Montreal/Baltimore).

Note de Programme:
Cent traces, sur de vastes plaines est inspiré du poème "Neige" d'Anne Hébert. Submergée dans son image poétique, la musique suit sa trajectoire émotionnelle et tente de l'incarner dans un langage de résonances, d'harmonies, et de temporalités. L'oeuvre a aussi été influencée par le roman "Kamouraska" de la même écrivaine. Les deux textes décrivent des rêves hivernaux qui s'écroulent et deviennent des rêves fiévreux éveillant d'ambigus souvenirs. Les cinq premières minutes contiennent trois rêves musicaux, chacun composés d'une citation altérées d'autres pièces pour piano 'au sujet de' la neige. Ces citations incarnent la façon dont ces personnages habitent ces rêves: on sait qui ils représentent dans notre vraie vie même s'ils ne se ressemblent pas exactement. Au fur et à mesure les frontières séparant ces rêves se déconstruisent et les identités de ces personnages se tordent. Les souvenirs musicaux apparaissent, disparaissent et se mélangent, menant à une masse nuageuse puis une rupture.

Pièce commandée par le concours de composition pour duo de piano Luba Zuk. 
Interprétée le 11 Novembre 2019, Salle Tanna Schulich, McGill. 
Composée janvier-mai 2019 (Montréal/Baltimore).

Cent traces, sur de vastes plaines (2019)

1st Section: Bb Major
synthesizers performed by DD

2nd Section: A major/minor. 
Performed by
Flute (Bobby Rangell, Denver USA)
Percussion (Nico Arnicho, Montevideo Uruguay)
Fretless Bass, bowed basses drone (Daniel Diaz, Buenos Aires, Argentina)

Recorded circa 2007 in Paris, reworked and remixed Friday November 13th 2020.

Photo by Louis Maniquet 

For this challenge:
Step 1: Think about how a gradient functions, as one thing transitions into another.

Step 2: Make a short piece of music that aims to explore the idea of a gradient in sound.

As mentioned on a previous junto, lately, when I have time, I’m recycling old masters I got back this summer from a publisher deal, I have dozens of 10 or 15 years old tracks to re-listen, re-work and release or use at will.
For this junto I decided to do a gradient between two old tracks: one completely electronic (synths and treatments) and one acoustic (live in the studio performance with actual musicians and instruments)
It starts with the electro-drone song , and instead of just crossfading volumes between tracks I decided to make my own interpretation of gradient: the second song’s tracks start unmuting one by one, starting with the flute and some percussion, then bass, etc, while the first song’s tracks start fading or muting one by one.
To make things interested, the first song is in the key of Bb major, while the second plays around A major and A minor, so the long middle section of this track, where the mutation happens, is in two superimposed keys, providing dissonance and instability instead of the original track’s clear mood.

Project discussion takes place on llllllll.co:

llllllll.co/t/disquiet-junto-pr…aking-the-gradient/

Two Memories Gradient (disquiet0463)

This 1992 demo was written, performed as mostly first takes, and mixed in an afternoon. I had just taken possession of my first DA88 digital 8 track tape recorder and decided a proper maiden voyage was needed.
I alone in my growing studio , with a 100 dollar drumset and the desire to write and record something completely unprepared or rehearsed, pulled this one out of the nether. Amazing how we become conduits and sometimes unknowingly release something that's been  with us, possibly  forever.
The muse was visiting and apparently the vessel was prepared.
Jim Reiske / song written and performed automatically. 1992

Sunshine - Demo - Jim Reiske 1992 Sessions(master)rev1

You don't want to miss this week's edition of Talking with T as we share our insights on the insurrection, riot of thugs, attempt at a coup at the capitol incited by the current inhabitant of the white house and more.

Talking with T

January 11th

whole, as in... - 1:12:21, 5.34 PM

MANDATE OF HEAVEN (he Hast Lost It

What a wild and wacky Wildcard Weekend it was last week, as some of the big teams move on, and others are sent packing. 
Wade & Ryan look back at all of the big games from last weekend, as Ryan celebrates his Bills victory, and Wade laments his Bears tough loss. 
The guys also look at some of the top stories from the NFL in 2021, as well as the implications for next season. 
Ryan & Wade then make their picks for the 4 games for the week ahead. Who will they pick?
Have a listen, a laugh, and whatever else you need to do yo get you through the day.

Divisional Preview-Ep 125

Join Dr. Funny as he revels in the occasion when he has a meal from a local fish and chip shop. Dance along!

Chippy Dance

Raw tune all made in natural pistas in one go. Just asking my friend Jazz to 'shut up' as he was pissing me off. Nice tune, really plain and without any additives.

Jazz, Shut up!

This intense piece was taken from the opening section of our first Lockdown Collaboration with @Idin-Samimi-Mofakham and @Martyna-Kosecka, recorded early on in the first Lockdown on the 18th April 2020. Although we didn't set out to make a disturbing piece of music, it came out that way... indeed Gillie found it almost made her feel physically sick when she listened back! The track seemed to reflect the mood of fear and anxiety that everyone felt at the peak of the pandemic. The wailing strings and horns sounded like a ship being tossed about in a stormy sea, while the pounding heartbeat and high-pitched whistle sounded like someone having a cardiac arrest while being intubated (to these warped ears, at least!). 

Unleashing such a track in the midst of the peak of the first wave seemed almost too raw and close to the bone, which is one of the reasons we've waited until now to post it. But with the second wave hitting again, may be it's time to remind all the Covid deniers and anti-vaxers want a nightmare the pandemic really is!

Hell Hath No Fury

Talking with T is the talk show designed to Engage, Educate, Empower and Entertain its listeners with Trending Topics, Noted News, Interesting Interviews, Rising Artists and much more!