This is a blending of current composition and ambient sound

Current...

NeuZe

studio world

Lauren

Mech Chain (2011)

Tristan Perich: Surface Image (Excerpt 1; Vicky Chow, piano)

Tristan Perich: Surface Image (Excerpt 3; Vicky Chow, piano)

Tristan Perich: Surface Image (Excerpt 2; Vicky Chow, piano)

An excerpt from <i>Transfigurations</i> for Orchestra and Live Computer Processing
(Full Orchestra and Chamber Orchestra versions available.)

Performed by the Temple Composers Orchestra (Chamber version)
Adam Vidiksis conducting

For ages, the orchestra served as the most advanced tone generator available to the musical art. The history of the orchestra has been one of continual development toward a diversity of timbre, loudness, and register. The computer is the only musical instrument capable of making all sounds discernible by the human ear; it is logical then to bring the computer into the orchestral tradition. Transfigurations combines the vast musical forces provided by these two mediums. All the sounds one hears originate in the orchestra itself live during the performance, except for the last sound. The computer processes these sounds in real time – manipulating, augmenting, and reinventing the performance. As with human musicians, no two iterations of the computer realization are exactly alike. 

The piece comprises five sections. The first is a fast-paced interplay between the orchestra and the computer, filled with counterpoint and rising to a dark and threatening culmination. In the second part, the flute, clarinet, and computer intermingle and untangle again with interjections from the rest of the full ensemble. The third portion of the work is a hopeful adagio, expanded in color by the computer, which ends in a triumphant outburst. The fourth section is dominated by solo violin and percussion. Both are manipulated to create an dense, metallic texture with threatening interjections from the rest of the ensemble. In the final section, the orchestra takes off at brisk pace, as if trying to outpace the ever-increasing effect of the digital manipulation. It is finally overtaken in a moment of music controlled by the computer and completely transformed from the live performance. As this music fades away, the only sounds not manipulated directly from the orchestra are heard. These chime-like tones are determined stochastically by the computer from the notes of the opening chordal motive. As these play softly fading into the distance, the orchestra enters once again for a final weary statement.

Transfigurations

March 6, 2014
Live at the RISD Museum
Providence, RI


Philip Glass - Two Pages (live at the RISD museum)

work for piano, electronics, and 2 transducers
2014
Composed by Adam Basanta
Performed by Vicky Chow
Commissioned by Vicky Chow with the support of the Canada Council for the Arts


this machine breaths to the rhythms of its own heartbeat (2014)

MRT003 - Dream Weapons - Feed on acid

In Hour 2 it's dgoHn who's had releases on Subtle Audio, Rephlex and a 12" on Love Love Records earlier this year, with the follow up due out at the end of September. There's music on offer from Demdike Stare, Nucleus & Paradox, Nic TVG and some of his own productions.

The Solid Steel website http://solidsteel.net/ for track lists and archive shows.
You can follow Solid Steel on
fb.me/solidsteelradio
twitter.com/SolidSteelRadio
Email solidsteel@ninjatune.net

Go to Hour 1 here https://soundcloud.com/ninja-tune/solid-steel-radio-show-292016-hour-1-murlo-1


Hour 2 - dgoHn  https://twitter.com/dgoHn_Music

•dgoHn - Drumk (Love Love Records)
•Paradox - Crate Logic (Samurai Red Seal)
•Icarus - Jon's Holiday (Recordings Of Substance)
•Plug - Versatile (Blue Angel Records)
•Macc & dgoHn - Gever (Subtle Audio/Rephlex Records)
•Enjoy - Portrait (Materializm)
•Macc - Stabbed in the Back (Pinecone Moonshine)
•Demdike Stare - Collision (Modern Love)
•Gremlinz - White Dove - (Paradox Music) 
•?? ?? ??
•Nic TVG - No Write Answers (Pinecone Moonshine)
•dgoHn - Dooky (unreleased)
•Nucleus & Paradox - Foundation (Esoteric Music)
•Relapse - Break Through (Subtle Audio)
•Lord Of The D - Jamie Let Go (Rewind Records)


Solid Steel Radio Show 2/9/2016 Hour 2 - dgoHn

Alma ∞ Omega is a devote disciple to the Deva-of-dopest-beat, humble slave to the rhythm, and dedicatedly obsessed in serving & perving the wide spectrum of SOUL-MEDICINE music: from organic-shamanic, hip-hop-heaven, dirty-disco, womb-tech-magic, and for music of which there are no genres…if it moves your loins and hips, opens your heart, tickles your toes, and takes you on a journey unexpected, well, this is the buffet of beats you may feast upon…

Alma ∞ Omega is the co-founder of Lucid and Cacaophany, and has been passionately opening portals of magic since her first house-party in 1997, coinciding with her life-purpose for creating alchemical spaces of transformation, celebration, healing and releasing…She is an avid believer in the power of DANCE and MUSIC to elevate & connect the spirit of humanity: allowing us to get back to the basics, our roots, our hips, our hearts, our oneness…no dogma on the dancefloor…just a dream within a dream, and a dream we dream together.

Mooji ∞ Nothing Here but you
Flako ∞ Golden High
Boards of Canada ∞ The Color of the Fire
Mala ∞ Take Flight
Kusht ∞ Voodoo Love Mood Edit
Super Grupo Colombia ∞ Cumbia Estereo (El Búho Remix)
Chancha via Circuito ∞ Universildo
Camila Costa ∞ Ponto das Caboclas (Carrot Green Acid Edit)
Thosch ∞ Shake Shack
Dakha Brakha ∞ Nad Dynaem (Alvaro Suarez Edit)
BirdZzie ∞ Etéreofonia
Luka. ∞ Purā Vidā
Francis Bebey ∞ Forest Nativity (Red Axes Edit)
A1st ∞ Theme of Sun Memory
Reesha ∞ Fin Del Mundo
Trentemøller ∞ The Dream (feat. LOW)
12K ∞ february 06 2015 (manual loop test glockenspiel)
Mooji ∞ Nothing Here but you

co-founder of Lucid www.lucid.dance/ and www.cacaophany.com

Tribute to the Sungod of Velika ☀ Nr. 3 Alma ∞ Omega

Performed by Glaux

I. Parallel universes
II. Particle-wave duality
III. At the Planck length
IV. Supermassive black holes

Physics is a sonata for flute, cello, and piano inspired by theoretical innovations in our scientific understanding of the universe.  Some of these concepts began to take root over a century ago or more, yet they remain at the crux of the enigma modern physicists explore.  
The first movement, Parallel universes, follows three parallel melodies.  Slight changes in each of the voices cause them to fall out of phase and back in again.  It is as if we are simultaneously viewing three slightly different versions of the universe from outside our typical point of view.  Particle-wave duality explores the twofold nature of energy and matter; each can be explained in both forms.  The second movement utilizes the analogy of music-as-waves and music-as-points to create its textures and melodies.  The third movement, At the Planck length, portrays the universe at its smallest possible unit of measure.  While we typically experience the universe continuously, science demonstrates that the Planck length is actually the smallest possible resolution – at least where the laws of physics as we understand them are relevant.  At this unimaginably small level, matter/anti-matter pairs can pop into existence out of nothing before colliding and annihilating without violating conservation of energy principles.  Because relativity dictates that matter and energy curve spacetime, subatomic energy particles at this scale create a quantum foam: spacetime is much more warped and twisted at this scale than we are used to when imagining larger measurements.  The third movement depicts the “foamy” nature of spacetime and the fleeting creation and destruction of energy.  The fourth movement, Supermassive black holes, portrays the powerful heart of galaxies.  It is believed that these immense objects are found at the core of galaxies, including our own Milky Way.  As an object approaches the event horizon of a black hole, it would appear to an outside observer that time would slow down for that object.  The fourth movement imagines the beauty of watching something drift in an ever-decreasing spiral toward the event horizon.  
Cosmology, astrophysics, relativity, and quantum mechanics are a continual source of stimulation, explanation, and wonder in my own life.  My brief descriptions of the concepts I sought to portray in this piece are simple to the point of absurdity due to the complex nature of these ideas and the brevity of program notes; however, I hope they aid you in a better understanding of this work as you hear it.  For those with a deeper understanding of the universe than I, please forgive these oversimplifications.  Throughout each of the movements of this work, I found inspiration in the astonishing structure of all things.  If any of my incredibly brief descriptions of these phenomena intrigue the listener, I encourage you to seek out this wondrous knowledge yourself.  


Physics

"...ins Dunkel geschlagen" (performed by XelmYa)

What is the voice inside the machine?  While computers perform tasks that extend the abilities of our own minds, they increasingly act as independent entities.  Synapse_circuit serves not as a direct analogy between these two ideas, but rather as a symbol of human-machine interaction.  The computer augments the percussionist’s performance, and improvises sounds based on his or her playing using algorithmic processes in Pure Data.  The percussion performance consists of glasses, bottles, and a bowl, which the performer hits, scrapes, blows and sings into. All sounds produced by the computer are derived from the real time performance.  Both human and machine performers work from a score, but listen and respond to the performance of the other.  Synapses and circuits – human and computer – together find the music inside the machine.  This work honors the complexity both of the human mind and its digital counterpart, taking us from wonder, to discovery, to celebration.

synapse_circuit

A short preview of the upcoming Parhelion EP, entitled 'Temples In Ice', due March.

Parhelion EP Teaser

Vicky Chow and Saskia Lankhoorn

November
Korzo Theatre
Den Haag, Netherlands


Kate Moore-The Body Is An Ear

Canadian pianist Vicky Chow has been described as “brilliant” (New York Times), “a monster pianist” (Time Out New York), "virtuosic" (New Jersey Star Ledger), and “one of the new stars of new music” (Los Angeles Times). Besides being a member of the Bang on a Can All-Stars, she is also a founding member of DUO X88, a piano duo with Dutch pianist Saskia Lankhoorn and GRANDBAND, a six keyboard ensemble with pianists Lisa Moore, Blair McMillen, David Friend, Isabelle O'Connell and Paul Kerekes..Most recently she gave the North American premiere of Steve Reich's work 'Piano Counterpoint' and also the world premiere of a new evening length work by artist/composer Tristan Perich for solo piano and 40 channel 1-bit electronics titled 'Surface Image'. Her next solo projects include commissions from American composers Chris Cerrone, Neil Rolnick, and Canadian composer Adam Basanta and recording releases on the New Amsterdam and nonesuch labels. 

Vicky’s passion for new music has propelled her to work with an A-to-Z of leading composers and musicians such as John Adams, Louis Andriessen, Bryce Dessner (The National) Philip Glass, Glenn Kotche (Wilco), David Longstreth (Dirty Projectors), Steve Reich, Terry Riley, and Lee Ranaldo (Sonic Youth). Her recorded work can be found on the ‘tzadik’, ‘Cantaloupe’,' innova', 'hinterzimmer', and ‘altaVoz’ labels. Her performances can be heard on WQXR, WNYC, CBC and BBC Radio 3. In addition to performing, Ms. Chow also produces and curates “Contagious Sounds”, a new music series focusing on adventurous contemporary artists and composers in New York City. She receives continuous support from the Canada Council for the Arts and has received grants from the Fromm Foundation, Vancouver Foundation, and the BC Arts Council.

Originally from Vancouver Canada, Ms. Chow studied at The Juilliard School with Yoheved Kaplinsky and Julian Martin before continuing studies at Manhattan School of Music with Christopher Oldfather.

Starting the piano at age 5, she was invited to perform at the age of 9 at the International Gilmore Music Keyboard Festival. She made her orchestral debut at the age of 10 with the Vancouver Symphony Orchestra made her NY orchestral debut appearance at Alice Tully Hall with the Juilliard Symphony performing Bartok’s Piano Concerto No. 1.

www.vickychow.com