Name: Belleville by Eugene Umlor
Duration: 2 min 27 s
Description: Small theme for Starter Town Jam - practice piece to stay sharp while I work on my VSTs

Amproprifications

Amproprification #1: Sequenza 9c, Luciano Berio(2016)

shoutout to whythough? for running this thru ozone for me lol

Tension

Outro of a recent set of Redactions & Generators at Northcote Uniting Church opening for Rashad Becker, as presented by Liquid Architecture. 

What a joy to be the most linear act on a bill of largely free-time electronic music, which presented a unique challenge. This segment was improvised entirely on a hybrid analogue-digital modular synthesizer, all changes are programmed into the patch in a method borrowing largely from analogue computing concepts, including all melody, event, effect, spatialization, and rhythm generation; note there are no fixed values or sequences of any kind happening here, it's all generative!

This is a slow builder, so give it a few minutes to really kick in. Any questions about the ideas at work here or specific units utilized, please get in touch via email at k@keithfullertonwhitman.com.

An Ending ($0.00)

Intro of a performance at Northcote Uniting Church, opening for Rashad Becker. This is a "Redaction", largely utilizing sounds recorded on the Buchla 200 at EMS Stockholm back in March 2017, along with recordings of Timpani & percussion made in Banff, March 2016.

A Beginning

Eighteen months on from his last new release, Vancouver-based singer / composer Ian William Craig returns with an (album-length) EP that collects together eleven new tracks. Entitled 'Thresholder', the record sees Craig return towards the smudged and scoured beauty of his 2016 opus, 'Centres'.

Recorded, produced and mastered by Ian William Craig himself, the origins of these tracks span a period from 'A Turn of Breath' to 'Centres'. Some were recorded at Ian's old studio on Vancouver's UBC campus, some at home, and one even recorded on tour in a giant secret underground cistern in Sweden. 

'Thresholder' will be released on 130701 on November 2nd.

Full info: http://130701.com/release/thresholder/

Thresholder

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Ian William Craig - And Therefore The Moonlight

Avenal 2500 EP out now!

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Reflector (feat. Little Snake)

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eyes in the water

In the summer of 2014, I was commissioned to write a piece for the Carillon (bell tower) in the Tiergarten in Berlin. Two concerts had been planned for Pentecost Sunday and Monday of 2015, which were to feature not only the piece I had written, but also two older pieces by other composers.
Given the circumstances — namely the bell tower's symbolic association with the church — and the date (Pentecost), addressing the religious context of the event was unavoidable.
The question of openness in central European societies has become increasingly controversial in recent years, and it was against this backdrop that the commission took on even greater potential. The piece "Adhan" (Arabic for "call to prayer"), consists of an Islamic call to prayer doubled by the bells of the carillon, and a recording of an ancient Jewish wind instrument — the shofar.
The recording of the muezzin was transcribed and arranged for the carillon, the bells of which are synchronized to the vocals. The vocals and the shofar are played back from a loudspeaker positioned at the top of the bell tower. The world's three largest monotheistic religions woven into a single musical gesture: The call of the muezzin, doubled by a Christian bell tower, supported by the Jewish shofar, on a Judeo-Christian holiday.
However, out of fear of islamist-motivated attacks, the piece was removed from the program by the organizer. Public reactions to the removal resulted in the program temporarily returning to its original form before the concerts were finally canceled altogether. 

This is not a live performance but a studio simulation that was produced while writing the piece in the ICST studio in Zürich in 2015 – here in a slightly modified mix, done one year later in the studio of the Academy of Arts Berlin.
See adhan.eu for more information. 
The simulation uses a Sample-Library of the Carillon in Berlin Tiergarten, the instrument on which the piece should have been premiered. The recordings were generously made available by the studio for electroacoustic music of the TU-Berlin for the development of the piece.

Adhan – Studio Simulation

Motets for 2 guitars (after Machaut) originated as a commission from the American Guitar Duo comprised of Laura Oltman and Michael Newman. It was premiered by them on the occasion of the eighth-hundredth Anniversary of Reims Cathedral a place much associated with the composer Guillaume de Machaut. One of the interesting insights of this piece is the fact that both guitarists start it with their guitar’s back turned towards the audience. This “awkward” disposition of their instruments (a first in the repertoire!) propels the piece forward as it ignites the percussive materials and destabilizes the expected mode of hearing the guitar. It also forces the guitarists to look for new ways to perform their instruments. This type of ‘ergonomic twist’ is already a 'thematic material' that will shape the subsequent elements of the piece - as well as its Form. This 'deterrence of the gestuality' through the sheer 'awkwardness' of inverting the guitar's normal playing "side," becomes a kind of a guideline of the composition itself... At its beginning, the guitarists are seated in ‘antiphonal disposition’ (like 2 separate choirs at a church). Both guitars are tuned 1/4 tone apart from each other. After the percussive intro, a “bell-like” (high) sound emerges, plucked by the left hand alone on the strings located between the tuning pegs and the nut. They symbolize the church-bells announcing the religious service. These 'harmonic materials' start to gain momentum and leap to the fore as one of the guitarists turn the guitar to its normal position. The metric narrative of the piece grows to incorporate Micro-Metric Modulation, a device that links distinct metric configurations through common denominators speeds and allows to pass a rhytmic ratio between them. (That's a first in Western music!!) At its middle the piece seems to coalesce into a microtonal episode where pitch becomes the prominent element. Another insight happens here: An isorhythmic Motet from the master is heard, albeit rhythmically and microtonally distorted, only to be questioned by all sorts of sonic, percussive, “debris...”  This strategy becomes my particular way of dialoguing with the “dead” master - as if two parallel universes were suddenly communicating. The mere continuum of sonic materials of different origins (mine and Machaut’s), superseded the need of a specific style, and an open dialog, inaugurates a mutual 'dialect.' Machaut and I are just “talking, cursing, disagreeing, being, etc.,” After citing the Machaut's Motet, the guitarists start to use glass, percussive effects, pencils, spoons, etc. slowly reinterpreting the timbral narrative of the piece and the isorhythmic motet Just heard. The "incongruity of an improbable meeting between composers sitting at incompatible 'time's shores..." is none but a subtext to bring the piece to a halt. A spoon manipulating the length of strings, as it pressures them near the bridge produces a “wavery, underwater,” resonance: pitches are hammered-on with the left hand alone while the spoon creates this natural reverb, a “wa-wa-like effect” (a Kampela 'trademark')that resonates with the idea of a Cathédrale Engloutie. The audible narrative shifts to slow waves vibrating in time - outside time itself...  Finally, although realizing our ‘unbridgeable gap’, we keep insisting on a form of music that is beyond sound itself - maybe a distant echo, a faint ‘YES,’  - between foreign, musical languages, solitudes, and landscapes...
 
©Arthur KAMPELA (Program Notes for Motets, 2019)

Arthur Kampela Compositions

Motets for 2 guitars (After Machaut)

Small theme for Starter Town Jam - practice piece to stay sharp while I work on my VSTs

Belleville

Eugene Umlor

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