Spring 2014 issue of Canada's best new music magazine, with articles on Margaret Noble, Nate Wooley, Victor Gama, plus articles, reviews, and a 13 track CD with tracks including Noble, Wooley, Gama, &c.
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Catalog ID: #118
Squidco Product Code: 18749
Format: MAGAZINE + CD
Packaging: Magazine and CD
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1. Tulugak 8:44
2. Safer Is Better 6:19
3. A Short Study For Seven Storey Mountain 15:03
4. Warblework-Swainson's Thrush 2:43
5. Salt Spring Improvisation #10 4:43
6. Running With The Herd 1:56
7. The Lords Of Odem 3:19
8. Alektorophobic 5:16
9. Character Change 7:30
10. Roboterstück 1:10
11. Indifference Engine Vs. Brian Nesselroad 4:27
12. Winter Was 6:20
13. Live At ESS 4:10
Various Artists & Compilations
sample the album:
Margaret Noble's Safer Is Better: First-place winner of the Musicworks 2013. Electronic Music Composition Contest; The Blessed Riders of Streetcars in Vienna: First-place winner of Musicworks' 2013. "Sonic Geography" Writing Contest; Music from the New Wilderness: Songs in the key of geography; plus reviews of Harry Partch, GGRIL, Juan Blanco, and a 13. track CD:
1. Tulugak (2013)Composed by Tanya Tagaq, Jesse Zubot, and Jean Martin.Performed by Tanya Tagaq (voice), Jean Martin (drums, electronics), and Jesse Zubot (violin).
Produced by Jesse Zubot, and recorded in Vancouver, B.C. at Warehouse Studios in 2012.From the forthcoming 2014. album by Tanya Tagaq.
Licensed courtesy of Six Shooter Records.© 2013. Tanya Tagaq Gillis8:44
2. Safer Is Better (2010)Composed and performed by Margaret Noble (analog synthesizers, digital samplers, turntables, random objects, and toys).
The year 1984. has passed, but George Orwell's vision of a society controlled through surveillance, censorship, infringement of individual liberties, and violence in the name of security still resonates today. Through contemporary media clips and sound art, Safer is Better explores Orwell's 1949. predictions as they increase in accuracy with each new decade. -Margaret Noble
Engineered by Doghouse Productions in San Diego, 2010.© Margaret Noble6:19
3. A Short Study for Seven Storey Mountain IV, Live (2012)Composed by Nate Wooley.Performed by Nate Wooley (trumpet) and TILT Brass Sextet.
This recording features the tape component of Seven Storey Mountain IV, and Nate Wooley on amplified trumpet, alongside the TILT Brass Sextet, which commissioned the study. TILT is led by Chris McIntyre, and comprises Gareth Flowers, Tim Leopold, and Chris DiMeglio on trumpets, and Jen Baker, Will Lang, and McIntyre on trombones. -Nate Wooley
Recorded in concert by Daniel Neumann at the Festival of New Trumpet, September 2012, at University Settlement in Manhattan.© 2013. Nate Wooley 15:02
4. Warblework-Swainson's Thrush (2011) (Available on Musicworks CD#118)Composed by Cassandra Miller.Performed by Quatuor Bozzini-Isabelle Bozzini (cello), Stéphanie Bozzini (viola), Clemens Merkel (violin) and Mira Benjamin (violin.)Recorded in Église Sainte-Théodésie, Calixa-Lavallée, Quebec, in June 2011.Recorded, edited and mastered by Amandine Pras, with Joane Hétu, executive producerFrom the album À chacun sa miniature (Collection QB, CQB 1113).
© SOCAN, SACEM, BMI, 2010-11(P) Quatuor Bozzini, DAME 2011Licensed courtesy of: Collection QB2:42
5. Salt Spring Improvisation #10. (2012)Composed by Quatuor Bozzini in collaboration with Taylor Brook and Nathalie Bujold.Performed by Quatuor Bozzini (members listed on notes for previous track).
Recorded in Artspring Theatre, Island Arts Centre, Salt Spring Island, B.C. in August 2012, and produced by Quatuor Bozzini.
© Quatuor Bozzini(P) Quatuor BozziniLicensed courtesy of Quatuor Bozzini4:42
6. Running with the Herd (2003)Composed and performed by Victor Gama (toha, acrux).
Composed for the first versions of the toha and the acrux, this piece is an early attempt at orchestrating with more instruments from the Pangeia Instrumentos series. Both the toha and the acrux have gone through several versions since then, and now share the stage with conventional instruments on my pieces like Vela 6911. and the new multimedia opera Three Thousand Rivers. -Victor Gama
Recorded at Adraga in Almoçageme, Portugal in 2003. Produced by Victor Gama, engineered by Paulo Machado, and released for the launch of the exhibition Instrumentos at the Royal Opera House in London in 2012.
From the 2012. album Naloga (PangeiArt, PAN106. CD).© Victor Gama1:55
7. The Lords of Odem (2001) 3:16Composed and performed by Victor Gama (acrux, zulao).
My main method of composition focuses on creating instruments that embody the symbolic material gathered for a particular new piece. This is one of the first pieces which required the development of the acrux. It is based on the fictional story of a space voyage into the orbit of Eguanalam, an inhabited planet of the Southern Cross constellation. -Victor Gama
Recorded at Adraga in Almoçageme, Portugal in 2001. Produced by Victor Gama, engineered by Paulo Machado, and released for the launch of the exhibition Instrumentos at the Royal Opera House in London in 2012.
From the 2012. album Naloga (PangeiArt, PAN106. CD).© Victor Gama3:16
8. Alektorophobic (2013)Composed and produced by Jonathan Pfeffer.Performed by Julian Chin (piano), Josh Modney (violin), Olivia de Prato (violin), Victor Lowrie (viola), and Mariel Roberts (cello).
Alektorophobic is a composition for piano quintet and electronics that attempts to dissect and epitomize the pathos, terror, and absurdity native to my lifelong phobia of chickens. At various points, the musical materials evoke the birds' body language, vocalise, and the texture of their physiques. -Jonathan Pfeffer
Engineered by Shahzad Ismaily and Sean van Doornum at Spectrum in NYC. Additional engineering and mixing by Alex Overington at Brooklyn Brush in Brooklyn, NY. Mixed and mastered by David Downham at Gradwell House in Haddon Heights, NJ.© 2013. Music Is Half the Battle (ASCAP)5:15
9. Character Change (2013)Composed and performed by Sean McCann (programming, glockenspiel, violin, and flute).
From the 2013. album Music For Private Ensemble (Recital, R5).© Sean McCann7:27
10. Roboterstück (2012)System designed by Arne Eigenfeldt.Performed by the KarmetiK NotomotoN, an eighteen-armed percussion robot.
A tongue-in-cheek homage to Karlheinz Stockhausen's famous total-serialist work Klavierstück XI, in which the performer glances at a sheet of music and randomly chooses to play from fifteen notated fragments. - Arne Eigenfeldt
Recorded live in the World Art Studio at Goldcorp Centre for the Arts, Simon Fraser University, Vancouver, B.C.© Arne Eigenfeldt 20111:06
11. Indifference Engine vs. Brian Nesselroad (2013)System designed by Arne Eigenfeldt.Performed by Brian Nesselroad and the Indifference Engine.
My software is often built around the concept of negotiation, in which virtual musical agents attempt to come to an understanding of what they want to achieve musically, and how to get there. In this work, the eight virtual agents must deal with a live performer, who has desires and intentions unknown to them. Each agent is given only a short "view" of the outside world in order to form their individual beliefs of what the performer is doing. Since these beliefs are often contradictory, the agents spend a lot of time arguing, resulting in occasional indifference to the live performer. -A. E.
Recorded live in the Wong Experimental Theatre at Goldcorp Centre for the Arts, Simon Fraser University, in October 2013.4:24
12. Winter Was (2013)System designed by Arne Eigenfeldt.Composed by GESMI.
Interactive and metacreative systems tend to reflect the designers' musical aesthetic. As a result, listeners have a hard time recognizing the quality of the system's output versus the designer's musical intentions. The Generative Electronica Research Project (GERP) was designed to generate music many listeners are familiar with-Electronic Dance Music (EDM)-by learning from a corpus of works from specific styles. My system-the Generative Electronica Statistical Modelling Instrument-began generating complete EDM tracks in March 2013, after being coded for almost three years. -A. E.
Recorded in Arne Eigenfeldt's personal studio.© Arne Eigenfeldt 20136:19
13. Live at ESS (2013)Improvisation by New Material-Mikel Avery (headboard tongue drum, percussion), Tadd Cowen (restaurant-chair cajón), Leroy Bach (one-dumpster six-string, clarinet), John Preus (amplified bedpost, vocals) and Alex Inglizian (vocal effects).
Recorded live at the opening of the exhibition Slow Sound at Chicago's Experimental Sound Studio in October 2013. With the exception of Bach's clarinet, the music is played on Preus' instruments. Mastered by Alex Inglizian.© John Preus4:09
• Show Bio for Nate Wooley
"Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music making for the past 20 years, but in no situation more than his solo trumpet performances.
Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.
Wooley's solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings "exquisitely hostile".
In the past three years, Wooley has been gathering international acclaim for his idiosyncratic trumpet language. Time Out New York has called him "an iconoclastic trumpeter", and Downbeat's Jazz Musician of the Year, Dave Douglas has said, "Nate Wooley is one of the most interesting and unusual trumpet players living today, and that is without hyperbole". His work has been featured at the SWR JazzNow stage at Donaueschingen, the WRO Media Arts Biennial in Poland, Kongsberg, North Sea, Music Unlimited, and Copenhagen Jazz Festivals, and the New York New Darmstadt Festivals. In 2011 he was an artist in residence at Issue Project Room in Brooklyn, NY and Cafe Oto in London, England. In 2013 he performed at the Walker Art Center as a featured solo artist.
Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums."-Nate Wooley Website (http://natewooley.com/about)
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