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Good, Kevin: Slow, Silent, Singing (Edition Wandelweiser Records)

The centerpiece of composer Kevin Good's "Slow" series is this evening-length glockenspiel solo, performed by San Diego based glockenspiel player Michael Jones, the composition of slow, melodic fragments that are increasingly permeated by swathes of silence of increasing length, exploring how the expressivity of the melodies are perceived and framed by these silences.

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product information:

UPC: 4011778039341

Label: Edition Wandelweiser Records
Catalog ID: EWR 2008
Squidco Product Code: 30311

Format: CD
Condition: New
Released: 2020
Country: Austria
Packaging: Cardboard Gatefold 3 Panels
Recorded at the University of San Diego, in San Diego, California, by Andres Gutierrez.


Kevin Good-composer

Michael Jones-glockenspiel

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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 1/19/2022

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

1. Slow, Silent, Singing 1:18:53
sample the album:

descriptions, reviews, &c.

"Slow, Silent, Singing is an evening-length glockenspiel solo by Kevin Good, performed by Michael Jones, forthcoming from Edition Wandelweiser Records. The work is an ongoing collaboration between Jones and Good, and the flagship piece of Good's Slow series.

The work itself is simple in its construction: slow, melodic fragments are increasingly permeated by swathes of silence of increasing length. The objective is to explore how the expressivity of the melodies are perceived and framed by these silences.

The glockenspiel is a particularly effective vehicle for this exploration: the metal bars of the instrument, removed from their standard case are instead freely laid across thin string on an appropriated xylophone frame. Untethered from most acoustical restraints, the bars resonate ("sing") for a duration that seems to brush against the supernatural. The silences therefore become less silences per se, but rather distances that the resonance of the bars and the expressivity of the musical content must cross to reach the next fragment.

The difficulty of this journey varies throughout the piece, and is made all the more profound when it begins to fail. At what point does the resonance stop being perception and become memory? Does the expressive content of the resonance follow a similar trajectory, or is it buoyed along in the minds of the listener until it arrives in safe harbor? Slow, Silent, Singing ultimately becomes a piece about connection across distance, be it perceived or actual, and serves as a meditation on the expressive spaces between us."-Kevin Good

Related Categories of Interest:

Compositional Forms
Percussion & Drums
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