Name: Ever New From Keyboard Fantasies © B. Glenn - Copeland SOCAN by Beverly Glenn-Copeland in A playlist for concentration vol. 1
Duration: 7 min 16 s
Description: I created this electronic album in 1985 experimenting for the first time with computer generated sounds. Soon to be re-released on vinyl.

Love it. Spun on tonight's show https://soundcloud.com/thepressuredrop/pressure-drop-show-12th-april-2021 #radiogold

A playlist for concentration vol. 1

Something in the Room She Moves

Meyou

Peace is a fragile moment.
I composed this piece of repetitive music as a humble tribute to one of my favorite composers Phillip Glass.

La paix est un moment fragile.
J'ai composé ce morceau de musique répétitive en guise d'humble hommage à l'un de mes compositeurs préférés, Phillip Glass.

The choirs are made with Sonara from Native Instruments.
Les chœurs sont faits avec Sonara de Native Instruments.


Peace of Broken Glass

Wound Up/Unwind - Unwind for String Quartet and Hand Pan
Written: 2025
Total Duration: 10'
for string quartet and percussion (cajón with pedal and handpan—D Kurd 10: D) A, B-flat, C, D, E, F, G, A, C )
Commissioned by FAB5 quintet with support from the New York City Department of Cultural Affairs
World Premiere: FAB5, Mostly Modern Festival | The Netherlands, Oostkerk, Middelburg, Middelburg, Zeeland, The Netherlands, May 2, 2025
US Premiere: Mostly Modern Festival. FAB5, Mostly Modern Festival, Arthur Zankel Music Center, Helen Filene Ladd Concert Hall, Skidmore College, Saratoga Springs, NY, June 18, 2026
Publisher: Bill Holab Music
For More Information: https://robertpaterson.com/wound-up-unwind
VIdeo: https://youtu.be/RPyXPYx-nuo


PROGRAM NOTE
For many years, my wife Victoria and her FAB5 quintet (string quartet and percussion), have entertained thousands of people at numerous performance spaces and travel hubs in New York City, including Moynihan Train Hall, Oculus World Trade Center, Javits Center, and Chelsea Market. Having seen many of their shows, especially those at travel hubs, there's a certain tension and release you experience watching people wait anxiously for their trains, and then the release they feel when they are finally on their way. I've had these experiences myself, so I wanted to create two pieces that emulate these feelings.

Wound Up/Unwind consists of two contrasting pieces for string quartet and percussion. The first, Wound Up, for string quartet and cajón, imitates the feeling of being worried, anxious, and frustrated, especially while waiting to board a train. The second, Unwind, for string quartet and handpan, is calm and soothing, perhaps emulating the satisfying feeling of relaxing in a quiet seat as the train leaves the station. Both pieces can be performed independently and in any order.

Wound Up/Unwind is written for and commissioned by the FAB5 quintet with support from the New York City Department of Cultural Affairs.

Unwind for String Quartet and Hand Pan

Gigi Masin - Clouds out in 1989 on Sub Rosa.
For more informations about rare repressed and reissued records, visit us :
http://www.morerepress.com/blog/2015/08/04/charles-hayward-gigi-masin-les-nouvelles-musiques-de-chambre-volume-2/

Gigi Masin - Clouds

Ghost Wave - All U Do Is Kill

I created this electronic album in 1985 experimenting for the first time with computer generated sounds. Soon to be re-released on vinyl.

Keboard Fantasies

Ever New From Keyboard Fantasies © B. Glenn - Copeland SOCAN

On The Echoing Green

A Song Of Summer

Jefre Cantu-Ledesma - A Song Of Summer

Talk from Home

Flatiron

Clouds

Impossible Island

Red Light

Parallels

From the album The Kid out October 6, 2017 on Western Vinyl

Pre-Order The Kid
BLEEP https://bleep.com/release/86790-kaitlyn-aurelia-smith-the-kid
Norman Records https://www.normanrecords.com/records/166212
Bandcamp https://kaitlynaureliasmith.bandcamp.com/album/the-kid
iTunes hyperurl.co/8n4qa5
WV http://westernvinyl.com/shop/wv170

In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized processes in producing music.  Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment.  Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized sound are born from deep reverence of the natural world.  Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.  The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.

The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana.  Smith’s music has always woven a youthful thread befitting of the aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,” which serves not only as a soaring spire on The Kid, but on her entire output.  There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith’s watermark.  The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness.  The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s ambition to broach subtler and deeper subjects than the average composer.  This side offers up another highlight in the form of “In The World But Not Of The World” which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill.  This side ends with the exploratory album cut “Who I Am & Why I Am Where I Am” recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself.  This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life.  On “To Feel Your Best” this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving.

Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly.  The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here.  As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.

The Kid

Kaitlyn Aurelia Smith - "To Feel Your Best"

Oyster Kids - "Work It Out"
www.oysterkidsmusic.com

Written, Recorded, and Produced by: Oyster Kids

facebook.com/oysterkidsmusic
instagram.com/oysterkidsmusic
twitter.com/oysterkidsmusic

Work It Out

Brighten this world with your truth, and let others know that they can too

Follow along at
Twitter & Insta: @thlanding
Official: www.whatisthelanding.com
Facebook: www.facebook.com/whatisthelanding

Original Artwork by Justin Rowland

An Anthem for the Optimistic

Spotify

Keep Lookin' up

The second movement of Morton Feldman's music for the film ‘Sculpture by Lipton’ , a documentary from 1954 about the work of the sculptor Seymour Lipton to which Feldman wrote the music. The original score has not survived, but the piece was transcribed from the soundtrack by Philip Thomas, who performs it on his 5-CD box set of Feldman's piano music, which will be released in September 2019.

Morton Feldman - Lipton Piece #2, played by Philip Thomas

Hi Folks! I write music in almost every genre, all over the map. Always have and always will. Maybe some of it is your thing. Maybe more than some of it! Please visit my Facebook page for more information about me, and for regular updates on what's for sale, for free and for fun. You can purchase these songs at www.songcycles.com. Sign up for my Newsletter too, while you're there. All the best. Glenn

Ever New From Keyboard Fantasies © B. Glenn - Copeland SOCAN

Beverly Glenn-Copeland

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