Concert version for brass quintet and live electronics, commissioned by Shriver Hall. (Installation version for overhead wavefield synthesis and video projection commissioned by EMPAC.)

[there are subwoofer bass frequencies present - use good headphones or larger speakers for best effects, not earbuds]

Audio documentation of the world premiere performance.  American Brass Quintet at Shriver Hall, December 8, 2019. (P.S. this was premiered on my birthday, and it was basically the best birthday present ever - thank you ABQ!)

Program Note:
Spending time in the chambers of ancient ruins and the cavities of basilicas and churches has led to a fascination with the interaction of architecture, light, and acoustics in relation to the human spectator. The different window types (from oculus to clerestory to stained glass) guide our relationships with the spaces, recanting visual stories as they divert beams of light in paths of illumination throughout the course of the day. The same is true of the sonic qualities of these, often vast, spaces. Within "The Glow that Illuminates, The Glare that Obscures" I take the brass performance tradition of the madrigals and motets of Renaissance polyphony and pass sourced quotations through a compositional prism. The resultant fragments are illuminated and obscured in the composition through the use of antiphonal and heterophonic writing, density and silence.  Fragments of Josquin's Miserere, a spare and austere motet setting of Psalm 51, jostle our memory as they are stretched and ornamented throughout the ritualistic sonic space.

The Glow that Illuminates, the Glare that Obscures (2019) for brass quintet + elec (concert version)

Sturnus vulgaris cohibitus (2020) for piano & transducers inside the piano. 
Performed by Marco Riccelli (der/gelbe/klang). Recorded by Asparuh Tashev at Villa Waldberta 17.06.2022.
The impact of the lockdown on nature was pronounced, as people were confined at home, animals began to feel freer in cities, pollution and noise levels decreased and birdsong became more audible. Confined at home, I began to watch starling flocks in my garden and listen to their (by my first-impression) non melodic songs. I wanted to capture their voices, turning them into a virtual instrument.
Composition Sturnus vulgaris cohibitus reflects on the idea of confinement. Piano part has a developed rhythmical language and is treated as a percussion instrument with prepared strings inside the big resonating box. Tiny speakers inside the piano play the brief starling calls which have a timbre function, creating a reverb and later a delay of a played instrument. Expanding its register the piece progresses keeping the dependency between piano and tape while symbolising a bird trapped between the strings, only making sound when struck by piano hammers but still hoping to break free.
Virtual instrument patch created by Kristijonas Naslenas.

Sturnus vulgaris cohibitus

music and lyrics by me

vocals by Mridul Harbhajanka
insta: @harbhajunkie
youtube: https://www.youtube.com/channel/UCh407DG5XRyv5bdgATyYRrw

check out the visualizer by Mridul on her channel: https://www.youtube.com/watch?v=1CwzbW0p4zg

---

Quietly, you sat 
Staring down that path
Waiting
Has it happened yet?

Those woods could eat you
But could they break through
All those walls?
Do what I could never do

You live in a bubble permanently above us
You'll never try to reach that peace
You just feel petrichor in the air
Early May dewdrops in your hair 
A chance to catch your breath
A place to rest your head

Don't leave me here, I'm tangled in
All this silver and copper string
Hanging above your bedroom door
The curtain's drawn and I'm worrying
About the things that you say to me
And all the times I was out of reach
Knowing you want what's best for me
Is killing me more than you'd believe

Something that I knew how...

May (with Mridul Harbhajanka)

The idea behind 'Ancestry' was to explore the stories from my family history, including my great, great grandfather: a black minister who married a white woman in Jamaica in 1880;  his son, the conservator of forestry on the island, who planted the trees that are now under threat from the extreme weather and flooding of the climate crisis; and the living and future children in our family, all framing the expression of themes of climate justice, dual heritage identity and generational healing.
 
The album was funded by Arts Council England and the MOBO fund of Help Musicians UK. I worked with producer Doug Cave, whose music features regularly on BBC Radio 1, BBC 6 Music, Worldwide FM and has frequent rotation on Spotify's jazz/leftfield Playlists, as well as some of Bristol's finest new wave jazz musicians from Snazzback, No Go Stop and Cousin Kula. 

The sound was inspired by classic artists like Marvin Gaye, Carole King and Minnie Riperton as well as Robert Glasper-esque RnB and jazz, and contemporary artists like of Cleo Sol, Sault, Michael Kiwanuka and Jordan Rakei, as well as spoken word of Arlo Parks and Kae Tempest.

Like Family

Eralum

Off the Record - The Fades
Bark Like a Dog Records
Friday June 2nd 2023

The Fades release an in your face blast of alternative garage rock rage with 'Off the Record'.

Big riffs, soaring guitar and powerful drums with a simple and maniacal vocal refrain "I don't feel comfortable with my voice on the record"..... Don't quote me on that!

Reminiscent of early Nirvana, elements of Faith No More and the snarl of Idles

Off the Record

Goodbye Mister Ryūichi

I'm so sad for this great lost. Ryūichi Sakamoto was one of my favourite artists ever. One big source of inspiration when I use piano into my tracks. This is my little personale tribute.
Have a good trip, Mister Sakamoto!

Goodbye Mister Ryūichi

Emma Gatrill has shared her new single ‘Seed’, a poignant and uplifting moment from her upcoming album featuring  stellar contributions from Rozi Plain and Kate Stables (This Is The Kit), Rachael Dadd and more. The Brighton-based harpist, songwriter and multi-instrumentalist’s new album ‘Come Swim’ arrives 24th November 2023 via Willkommen Records. 
   
A manifesto for kindness, ‘Seed’ speaks to the challenging times we find ourselves in, suggesting ways we can all make a difference by sticking to our principles and striving to be the best possible versions of ourselves - “Help a stranger out like a friend in need…Don’t be frightened to stand up for what you believe”.

Aided by co-producer and partner Marcus Hamblett, though new album ‘Come Swim’ was produced and recorded at home (or Bear Mountain Studios, as the credits have it), Gatrill was able to call on a truly impressive cast of collaborators for the album. Along with Stables, Plain and Dadd, other guests include Conor O’Brien (Villagers), Mark Lockheart (Polar Bear, Radiohead’s Kid A), Rachel Horwood (Trash Kit, Bas Jan), and Thom Mills (Skinny Lister). 

Since 2017’s acclaimed Cocoon, Gatrill has steadily earned her place as one of UK music’s best-kept secrets. From singing on Nick Cave & Warren Ellis’ film soundtrack ‘Wind River’, to playing a remarkable range of instruments for others (including Lucy Rose, Broken Social Scene, Samantha Crain, David Thomas Broughton and more), Emma has distilled this wealth of experience into creating a captivating sound entirely of her own; a logical progression that culminates in the fervent beauty and wonder of ‘Come Swim’. 

Emma Gatrill on ‘Seed’:
“‘Seed’ attempts to represent how tough life can be. We may sow a thousand seeds but only one may survive and grow, but that one can be everything. That one idea can blossom if we nurture it. That one kind gesture from a stranger can change how the whole day goes. Stay strong, stand up for what you believe and don’t feel afraid to ask if you need help. That’s how we all learn. It was an honour to have Kate, Rozi and Rachael all add vocals to this tune. I’ve enjoyed playing music with all three of them so much over the years and learnt a lot musically from them. I really wanted this song to have a feeling of camaraderie and a sense of togetherness.  Kate's wild recorder and ocarina also sonically embody one aspect of the song's meaning for me - the continual cacophony of life perhaps! To find answers we have to ask questions. To find kindness we have to be kind. To grow we have to learn. Seed is about trying to be the best possible version of us in a world which is tough.”

Kate Stables (This Is The Kit) on ‘Seed’:
“Emma Gatrill is one of the most talented people I know. We've played together a lot in various projects and so I was very happy and honoured to be asked to contribute to this track. I especially loved having the freedom to add whatever I felt like and anyone who knows me beyond my own band knows I love adding ocarinas and recorders - which is what I did and which Emma generously left in! This track is filled with so many people that I love. Plus, I just can't get enough of "out of the dark into the light, into the light of the morning". A message we all need to remind ourselves of on a daily basis. Good one, Gatrill!”

Rachael Dadd on ‘Seed’:
“This song is like a glorious seed sprouting towards golden sunlight. I’m so happy to hear Emma bringing her third album into the world in all its harmonious joy and honoured to sing here, and massively grateful to Emma for all she’s brought to my music over the last 12 years”

Emma Gatrill - harp, clarinet, bass clarinet, mellotron

Kate Stables - backing vocals, ocarina, recorder
Rachael Dadd - backing vocals
Rozi Plain - backing vocals

Marcus Hamblett - cornet, synths
Andrew Stuart Buttle - violin
Dan Harding - drums

Seed

Lyrics

Kindly teach thy bride in secret
In the long and dreary evenings
When you're sitting at the fireside
Teach one year in words of kindness
Teach with eyes of love a second
In the third year teach with firmness
If she should not heed thy teaching
Should not hear thy kindly counsel
After three long years of effort
Cut a reed upon the lowlands
Cut a nettle from the border
Teach thy wife with harder measures u-uh

In the fourth year if she heed not
Threaten her with sterner treatment
With the stalks of rougher edges
Do not touch her on the forehead
Nor upon the ears nor visage
If a ridge be on her forehead oh
Or a blue mark on her eyelids
Then her mother would perceive it
Her father would take notice
All the village-workmen see it
And the village-women ask her
'Has thou been in heat of battle'

Hit me baby one more time
Hit me baby one more time she says and I will kill you uh-u

Shame her thus to do her duty
Strike not yet, though disobeying
Should she disregard this warning
Gather all thy sticks in silence
Gather quietly the birch-wood
That the father may not fancy
And the mother not imagine
That thy calling came from anger
And thy noise from discontentment
Hide it underneath thy mantle
That the stranger may not see it
Show it to thy wife in secret

Hit me baby one more time
Hit me baby one more time
Hit me baby one more time she says
Hit me baby one more time she says and I will kill you uh-u

Bride's Farewell

I Watched A Documentary

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For enquiries email scott@tmplemngmnt.com

Lyrics

I'll choke down here I won't touch the sky 
why you wanna call it, why so blind
 
Tilt back my head until my eyes black out
you've got to sit up, speed up
cause it's over now

Can't get into it
I can't get into it
what you said to me 
I won't give into it

Your heavy palms beat down on me 
Sculpt a shape, a curiosity 

Can’t hurt yourself cause it’s over now

I wanna go until this all dies down 
Can't hurt yourself cause it's over now 
My skin is pale when we talk it out 
Can't hurt yourself cause it's over now

Out pour the words under bitter breath
I asked to breathe but they served me death
Tickle my nerves when I'm under threat
A nightmare that I won't forget 

I wanna go until this all dies down 
Can't hurt yourself cause it's over now 
My skin is pale when we talk it out 
Can't hurt yourself cause it's over now

Can't hurt yourself cause it's over now
I wanna go until this all dies down 
Can't hurt yourself cause it's over now 

What did I tell you?
I blame you 

I can’t get into it

Curiosity (Dawn)

The Fades is an unrelenting post-punk garage indie rock four piece from South West London. Combining a tongue in cheek sense of humour, songs of love and loss, anxiety and introspection with fierce and energetic raw energy, they create a scintillating mix of post-punk indie and garage rock. 

"It’s like someone fired a surf-punk into the sun at warp speed while a heavenly choir rejoices in the shredding with their beatific 'aaaaahs'.” Fresh on the Net

Off the Record

The Fades

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