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Good, Kevin : Listen (Edition Wandelweiser Records)

Kevin Good organized this composition from four field recordings collected near Avon, CT, isolating sounds that he found interesting and then attempting to recreate them on other instruments, finally adding the human voice sparsely utilized throughout the piece, all to promote the idea of listeners actively paying attention to the sounds of their environment.

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product information:

UPC: 4011778040987

Label: Edition Wandelweiser Records
Catalog ID: EWR 1711
Squidco Product Code: 24784

Format: CD
Condition: New
Released: 2017
Country: Germany
Packaging: Cardboard Gatefold 3 Panels
Recorded in Avon, Connecticut, on March 22nd, 2015.


Kevin Good-composer, field recordings

Mike Jones-voice

Libby Cohen-voice

Sayun Chang-voice

Andrey Stolyarov-voice

Jean Carlo Urea Gonzalez-voice

Robert Carl-voice

Ken Steen-voice

Jianpeng Feng-voice

Yudong Wong

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Artist Biographies:

Kevin Good, born 1992, live in Las Vegas, NV. His works involve field recordings. He is a recording engineer, mixing, and mastering.

-Squidco 6/22/2022

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Sayun Chang- Percussion

Multi-percussionist Sayun Chang's musical interests range from traditional and contemporary classical music to many diverse disciplines of world music. She has collaborated with Taiwanese indigenous dance groups on several occasions, and she has performed in international folk festivals throughout Turkey, Greece, Canada and Hungary.

In 2011, Sayun participated in the Summer Institute of Contemporary Performance Practice at New England Conservatory, Boston. Later that summer, she presented the world premiere of Che-Yi Lee's Fantasy on the Love of Shiao-Guei Lake for violin and marimba in MiaoLi, Taiwan.

During 2009 and 2010, she performed Anders Koppel's Marimba Concerto No. 1 with The Sound of the Spring Orchestra, and also gave the world premiere of Feng-Hsu Lee's percussion concerto, Love Songs from The Kalabai River, with the Evergreen Symphony Orchestra in Taipei, Taiwan.

Currently, Sayun is a doctoral student at The Hartt School, where she studies orchestral percussion with Ben Toth and multiple-hand drumming with Shane Shanahan.

She received her Master's Degree from The Hartt School and Bachelor's Degree from Taipei National University of the Arts. Her past teachers have included Ted Piltzecker (Jazz Vibes), Rogerio Baccato (Brazilian drumming), John Amira (Cuban and Haitian drumming), Joe Galeota (African drumming), Pei-Ching Wu, and Tzong-Ching Ju. She was a member of the Ju Percussion Group and Youth Concert Band in Taiwan."

-Sylvanus Ensemble Website (

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"Andrey Stolyarov is a Russian-born American composer, conductor, singer, and educator. Most recently, he was chosen as a finalist in the Young New Yorkers' Chorus New Music Competition, and was commissioned to write a new piece, Found, for the YNYC Women's Ensemble, which was premiered in April of 2017, In 2016, his work Out of the depths for mixed choir, treble choir, organ, and orchestra won the 2016 John Kuzma Young Composers Award. His piece Ebb & Flow won first prize at the 2014 ISAM Festival Joseph Dorfman International Composition Competition in Ochsenhausen, Germany. Additionally, Andrey was a finalist in the 2016 and 2014 ASCAP Morton Gould competitions, the 2014 Khorikos ensemble's ORTUS competition, an honorable mention in the 2015 American Prize choral division, and a semifinalist in the 2015 American Prize chamber division. Andrey is currently pursuing doctoral studies in music composition at The Hartt School in West Hartford, CT. He is Co-director of The Hartford New Music Festival, Director of Music at West Avon Congregational Church in Avon, CT, Artistic Director of NoteNova Publishing, and is currently a substitute adjunct music theory professor at The Hartt School. Previously, a he was a graduate music theory teaching fellow and the director of the Composer's Ensemble Chorus at The Hartt School, as well as Composer-in-Residence at The Unitarian Society of Hartford. He is an active professional singer in the Greater Hartford area, currently performing with CONCORA, Voce, and Novi Cantori and is a private voice instructor and Connecticut Music Educators Association (CMEA) judge. To listen to his music, look for Andrey on Youtube and Soundcloud. Andrey is published under Darushkii Publishing and NoteNova Publishing."

-Andrey Stolyarov Website (

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"Robert Carl (born July 12, 1954 in Bethesda, Maryland) is an American composer who currently resides in Hartford, Connecticut, where he is chair of the composition department at the Hartt School, University of Hartford.

Carl studied with Jonathan Kramer, George Rochberg, Ralph Shapey, and Iannis Xenakis. From each respectively, the composer has commented that he feels he learned about time, history, counterpoint/phrasing, and form. His music finds its roots in the spirit of eclectic juxtapositions, transcendentalism, and experiment embodied in the output of Charles Ives and other American "ultramodernists", including Carl Ruggles.

CarlŐs music until 1997 tends to explore different styles, and to create unusual syntheses thereof. A history major as an undergraduate at Yale University, he has felt that the musical past is a fertile source to be manipulated for new expressive purposes. Duke Meets Mort (1992) is a saxophone quartet that interprets the harmonic changes of Duke EllingtonŐs Mood Indigo in the voice of Morton Feldman. Time/Memory/Shadow (1988) is a double trio (piano quintet and harp) based on a march written in the composerŐs adolescence, which is slowly ŇexcavatedÓ in the course of the piece, and only revealed at the end.

From 1998 on, starting with Open for string trio, CarlŐs music has become less referential. Since 2001 he has developed a technique of basing his harmonies on the overtone series, with common partials above different fundamentals serving as pivots for progressions and modulations. In American Music in the Twentieth Century, critic Kyle Gann described Carl's more recent style: "(he) has settled into a more serene, meditative idiom, but still with a dissonant edge." More recent works that represent this approach include The WindŐs Trace Rests on Leaves and Waves (2005) for string quintet (premiered by the Miami String Quartet and Robert Black), Marfantasie (2004) for electric guitar and large ensemble, Shake the Tree for piano four-hands (2005), A Musical Enquiry Into the Sublime and Beautiful (2006Đ07) for chamber orchestra, La Ville Engloutie (2007) for wind ensemble, Fourth Symphony (2008), and Piano Quintet "Search" (2012). Carl also frequently collaborates with sculptor Karen McCoy, creating sound components of installation art works, including pieces for the Sculpture Key Festivals of 2009 and 2010, and the 2013 Wintergreen Festival.

Carl's music has been released by Innova Recordings, New World Records, and Centaur Records, among others."

-Wikipedia (

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"Ken Steen is a composer, sound artist and educator living in Glastonbury, CT. His music sits squarely on the frontier between the acoustic and electronic domains of musical expression; often combining traditional orchestra, chamber ensemble or soloist with electronic instruments or processed sound and noise. He has received numerous awards for composition including an ISCM Boston Composition Award, an American Symphony Orchestra League New Music Project with the Saint Louis Symphony Orchestra conducted by Leonard Slatkin, grants from The Connecticut Commission on the Arts, The New England Foundation for the Arts, Meet the Composer, The Roberts Foundation, The American Composers Forum Continental Harmony Encore Project, The Margaret Fairbanks Jory Copying Assistance Program of the American Music Center as well as fellowships to The Millay Colony for the Arts, the Artists' Enclave at I-Park and The MacDowell Colony.

In addition to composing concert music in many forms, Steen has composed a wide variety of works both acoustic and electronic for sound installation, dance, theater and web-distribution. His music and soundworks have been featured on concert and radio programs throughout the U.S.A., Canada, Italy, Belgium, Romania, Australia, Cuba and Japan among others. His work has recently been part of: the Sonic Residues 02 Festival, Festival of Electro-Acoustic Music: Spring in Havana, the Currents in Electro-acoustic Music Festival and the 60X60 International Project. Recent premiere performances and sound installations in such diverse locations as Xi'an, China, Fortaleza-Ceará, Brazil, Spring in Havana Festival, Havana, Cuba, Merkin Concert Hall in NYC and the Australian Centre for Contemporary Art in Melbourne, Australia, confirm that his work is steadily attaining international recognition.

Steen's music can be found on the Capstone, Vienna Modern Masters, Auralit and CRI CD labels, as well as at, and is published by University of Arizona Publications, Harrock Hall Music as well as American Composers Edition.

Some of his soundworks can be found at

Steen is currently Professor of Composition and Theory, and director of Studio D at the Hartt School, University of Hartford."

-Ken Steen Website (

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Jianpeng Feng (b.1989) is an active percussionist. During his 20 years music career, he has performed in Japan, Germany, The United States, and throughout China as a solo, chamber and orchestral musician. The major organizations he has been working with include Minnesota Ballet, Duluth Opera, China Movie Symphony Orchestra, and China Central Traditional Symphony Orchestra. As a solo percussionist, he has won several competitions. The major achievement include The Winner of PAS KoSA NYU Marimba Competition (2013), The Winner of the 3rd Chinese International Percussion (Snare Drum) Competition (2011) and The Winner of the 3rd Chinese International Percussion (Marimba) Competition (2011).

Jianpeng's career goal is to contribute to the cultural exchange of western and traditional Chinese percussive arts. Since 2012, he has been working with China Conservatory and the Secondary School Attached to China Conservatory during the summer. He has been working with and introducing Gene Koshinski, Ted Piltzecker, Andrew Beall, Benjamin Toth, Tim Broscious, Adam Mason and Joe Porter to China and coaching traditional Chinese percussion pieces at University of Minnesota Duluth and The Hartt School of Music.

Jianpeng got his B.M. degree from University of Minnesota where he studied with Dr. Gene Koshinki. Recently, he is finishing his master degree and going to do a doctoral degree at The Hartt School of Music under Professor Benjamin Toth. In addition, his major teachers include Joe Galeota(African Drumming specialist), John Amira(Latin Percussion specialist), Rogerio Boccato (Brazilian Percussion and Drum set specialist), Ted Piltzecker (Jazz specialist), Shane Shanahan (Mid-Eastern hand drumming specialist), Jiguang Jin (Orchestral percussionist), Jiaxun Wang (Marimba virtuoso) and Xin Tian (Traditional Chinese Percussion specialist). Currently, He is a member of the honor chamber group 20/20 with full scholarship and is working as a graduate teaching assistant at The Hartt School.

-Jianpeng Feng Website (

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track listing:

1. Listen 1:01:00
sample the album:

descriptions, reviews, &c.

"notes on listen

recently, I have become interested in the idea of music blending with the environment the listener is in, rather than the music creating its own environment. In listen, I have recorded a balance of sounds that occur naturally throughout the day and others created intentionally in imitation of those sounds.

the piece is comprised of four field recordings, collected in an area near my current home (Avon, CT) at different times of the day. I listened to each of the recordings and isolated sounds that I found interesting and then attempted to recreate them intentionally. I accomplish this either by shutting a door, opening a mailbox, turning on a sink, etc.

I also imitate sounds by finding a similar instrumental sound (such as rubbing hands on a bass drum to create a wind-like sound). the instrumental sounds are mixed very low and may even been inaudible in most listening situations.the last compositional element is the human voice, sparsely utilized and becoming more so throughout the piece. none of the sounds have been electronically processed in any way. this work may be listened to in any environment.

listen was originally conceived as a headphone piece; however, using speakers or other playback methods may be interesting as well. it is my hope that listen can remind listeners to pay attention to their environment's sounds not only when listening to this piece but, when listening in general.

- Kevin Good. spring 2015

Related Categories of Interest:

Compositional Forms
Field Recordings
Spoken Word
lowercase, reductionist, micro-improv, sound improv, onkyo sound
Electroacoustic Composition
New in Compositional Music

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