# 21st Century Works incorporating Electronics



## SanAntone (May 10, 2020)

Works that qualify for this thread _incorporate_ electronics - i.e. are not composed of only electronics. Works for acoustic instruments with electronics of any kind are accepted.

*Ben Smith* - _islands_
for piano and tape


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## Enthusiast (Mar 5, 2016)




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## JohnP (May 27, 2014)

Respighi. The Pines of Rome. The bird is a tape recording. I don't think that's what the OP meant, but a tape recorder--or whatever device is used--is electronic. Or at least electrical.

Bach. Switched on Bach. Wendy Carlos.


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## SONNET CLV (May 31, 2014)

I prefer music that doesn't lull me to sleep, whether it be of a Baroque, Classical, Romantic ... or post-Modern nature. Music where something "goes on" that challenges the ears and mind proves, to my sensibilities, much more satisfying than just "pretty tune" music or that stuff that "floats" in the nether-spaces of musical nirvana.

This piece shows up on the 2018 Donaueschinger Musiktage compilation from NEOS. It floats, at times, but also features enough moments of "attack dog brilliance" that I never felt a drooping eye lid during the entire half hour.

It shows up in a video sound clip: *Marco Stroppa: Come play with me (2016/18)* for solo electronics and orchestra






This next one appears on the same NEOS compilation (NEOS 11914-15) as the work above. Again, music with stuff going on.

*Ivan Fedele: Air on air (2018)*, for amplified basset horn and orchestra.






From friends of "new music" at NEOS:


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## Mandryka (Feb 22, 2013)

Tilbury on the piano, Keith Rowe on the guitar and doing some electronics. Duos for Doris dedicated to Doris Tilbury, John's mother, who had died a couple of days before the creation of the music. From 2003.


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## SanAntone (May 10, 2020)

*Jason Thorpe Buchanan* - _all-forgetting-is-retrieval_






performed by TACETi Ensemble Pisol Manatchinapisit (alto saxophone), Christhatai Paksamai (bass clarinet), Siravith Kongbandalsuk (trombone), Noppakorn Auesirinucroch (guitar), Pipe Kantapong (percussion), Tapanat Kiatpaibulkit (violin), Kantika Comenaphatt (cello), Piyawat Louilarpprasert (augmented conductor), Jason Thorpe Buchanan (electronics)
all-forgetting-is-retrieval by Jason Thorpe Buchanan (2019)


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## Enthusiast (Mar 5, 2016)

Also, Julian Anderson:


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## progmatist (Apr 3, 2021)

Adventurous piece.....proceed with caution.


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## starthrower (Dec 11, 2010)

Jonathan Harvey string quartet no. 4, the YT upload of which I posted in San Antone's 21st century chamber music thread.


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## SanAntone (May 10, 2020)

progmatist said:


> Adventurous piece.....proceed with caution.


This appears to be an entirely electronic music work. This thread is for works which "incorporate" electronics along with acoustic instruments.


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## SanAntone (May 10, 2020)

*Ruud Roelofsen* - _on intimacy I _
(2019) - cello and electronics


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## tortkis (Jul 13, 2013)

Lucy Railton: Forma (Portraits GRM)








https://lucyrailton.bandcamp.com/track/forma
for multichannel tape and live cello


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## Forster (Apr 22, 2021)

JohnP said:


> Respighi. The Pines of Rome. The bird is a tape recording. I don't think that's what the OP meant, but a tape recorder--or whatever device is used--is electronic. Or at least electrical.
> 
> Bach. Switched on Bach. Wendy Carlos.


Post 2000 works?


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## SanAntone (May 10, 2020)

*Maija Hynninen* — in the universe everyth ng is a circle (2020)






performed by *Heather Roche* 

Composer Maija Hynninen (b. 1977) is working in the areas of concert music, electronic instrument design and multidisciplinary performances. The essence of her music builds on the unique moments where the parameters of this world are slightly altered to allow a glimpse of another reality to be present. It can be a moment where the timbre of purely acoustical writing gives surprising results or when electronics project sounds into another domain, another space and reality.


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## SanAntone (May 10, 2020)

*Stefan Węgłowski: Contemporary Jewish Music - "Beginning" (2017)*






_Despite bearing such a bald, straightforward title, Polish composer Stefan Węgłowski’s relationship with Jewish music, as manifested in the five works that comprise his Contemporary Jewish Music cycle, is a complex one. Węgłowski has drawn on textual and musical elements from traditional Jewish sources, but one would often be hard pressed to know that they were there, let alone recognise them. The composition process began with recordings of improvisations by a small instrumental ensemble, which Węgłowski then worked on electronically, creating a sound world primarily characterised by shifting textures and colours, all seemingly built upon a soft ‘ticking over’ pulse. Regardless of the ‘Jewishness’ of the music, taken on its own terms as something in between electroacoustic and acousmatic music, the dramatic and emotional range of this cycle is all too apparent. ‘Beginning’ works as an overture, effectively setting up the environment within which everything else will follow. _(5:4)


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## fluteman (Dec 7, 2015)

it dates from 1999 and so doesn't quite qualify, but John Corigliano's Vocalise is an ethereal and beautiful example. Also, though he probably is better known for his solo flute version of Purple Haze, and for Jimmy Fallon making fun of his name, Robert Dick's [email protected] is worth a listen.


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## SanAntone (May 10, 2020)

Close enough.


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## SanAntone (May 10, 2020)

*Glossolalia/Lines on Black*, which features works by *Wet Ink Ensemble* members *Alex Mincek* and *Sam Pluta* that make wildly creative use of electronics, voice, and off-the-wall playing techniques. (2020)


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## Simon Moon (Oct 10, 2013)

Despite being a huge fan of mid to late 20th century classical music, I'm really not much of a fan of electronic instruments used in classical music. 

That being said, there are a couple I like.

Charles Wuorinen - Concerto for Amplified Violin and Orchestra (1972)


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## SanAntone (May 10, 2020)

*Galya Bisengalieva* is a Kazakh-British violinist. Improvisor, collaborator and leader of the London Contemporary Orchestra based in London.






*Galya Bisengalieva ~ EP Two *(2019)
Darren Cunningham, Galya Bisengaliveva

The Kazakh/British violinist has been building her career for years, but this release deserves to be her breakthrough. She’s already worked with some of our favorite composers, including *Hildur Guðnadóttir*, *Mica Levi*, *Sarah Davachi* and P*auline Oliveros*. She led the London Symphony Orchestra on Phantom Thread and contributed solo violin to films such as _Suspiria_. 

Last year’s _EP One_ included works by *Claire M Singer* and *Emilie Levienaise-Farrouch*, along with Bisengalieva’s own “Tulpar” (remixed by Actress as a digital bonus on the current EP). But that release was a completely different animal: patient, meditative, serene. The same holds true for her work on *Danny Mulhern*’s _Safe House_: lovely, accomplished musicianship, but little hint of what was to come. 

In fact, only “Tulpar” (a Kazakh version of Pegasus) offers a glimmer of the absolute craziness ~ the creative fire ~ that suffuses _EP Two_ with the sort of energy that makes one sit bolt upright. This is something new, an adrenaline shot all too rare in the music industry. (a closer listen)


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## SanAntone (May 10, 2020)

*Sarah Nemtsov: MOOS*
for 13 musicians & electronics (2019-'20)


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## justekaia (Jan 2, 2022)

panayiotis kokoras connotations for string orchestra and electronics (2015) played by Aso Nieta Ensemble


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## justekaia (Jan 2, 2022)

mochizuki: intrusions for orchestra and electronics, orch de paris, 2021-2022


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## justekaia (Jan 2, 2022)

missy mazzoli: vespers for a new dark age for electronics, percussion and ensemble, 2014, dune-kotche-victoria


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## justekaia (Jan 2, 2022)

__
https://soundcloud.com/ensembleintercontemporain%2Fyan-maresz-tutti
a great piece by yan maresz called tutti (2012-2013) performed by EIC and conducted by Pintscher


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## SanAntone (May 10, 2020)

justekaia said:


> missy mazzoli: vespers for a new dar age for electronics, percussion and ensemble, 2014, dune-kotche-victoria


I am a fan of Missy Mazzoli. Good one.


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## justekaia (Jan 2, 2022)

Le Encantadas for ensemble and electronics (2014-2015) by Olga Neuwirth performed by EIC, just one of my favourite pieces of all times


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## justekaia (Jan 2, 2022)

Tenebrae (2000-2001) by Matthias Pintscher for viola, ensemble and live electronics, interpreted by Desjardins-EIC-Pintscher


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## justekaia (Jan 2, 2022)

Glossopoeia by Alberto Posadas for 3 dancers, 4 musicians, video and electronics, EIC-Roth 2009; needless to say i consider Posadas one of the greatest composers alive


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## justekaia (Jan 2, 2022)

Yann Robin's Art of Metal I and III for contrabass clarinet, electronics and ensemble (2006-2008), Billard-Robin-EIC-Mälkki


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## justekaia (Jan 2, 2022)

This is just an excerpt of roger reynolds'masterpiece sanctuary (2003-2007) for distributed ensemble and live electronics; the dvd with shick and the red blue fish is the real treat, by a composer who has studied with the greatest composer of all times (I.X.)


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## justekaia (Jan 2, 2022)

Trajectories by Anna Thorvaldsdottir (2013) for piano and electronics interpreted by Porsteindottir.


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## justekaia (Jan 2, 2022)

Vent nocturne (2006) for viola and electronics by Kaija Saariaho interpreted by Garth Knox


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## justekaia (Jan 2, 2022)

Ein Schattenspiel (2004) for piano and electronics from GF Haas played by Yunko Yamamoto (piano) and Oliver Sascha Frick (electronics)


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## justekaia (Jan 2, 2022)

Maim (2001-2007) in various parts from Chaya Czernowin for 5 soloists, orchestra and live electronics, performed by Experimentalstudio SWR-Berlin Concerthouse Orchestra


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## justekaia (Jan 2, 2022)

Nacht und Träume (2004-2008) in various parts from Richard Barrett for cello, piano and electronics, performed by Deforce-Oya


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## justekaia (Jan 2, 2022)

Dikha (2001) from Christophe Bertrand for clarinet and electronics performed by Armand Angster


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## justekaia (Jan 2, 2022)

Phantom Splinter (2009) from Dai Fujikura for ensemble and electronics performed by ICE


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## justekaia (Jan 2, 2022)

Unheimlich (2011) from Turgut Ercetin for clarinet, accordion, guitar and live electronics, performed by Badczog-Paté-Josel


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## justekaia (Jan 2, 2022)

Not I (2007/2018) from Stefan Prins for guitar and electronics performed by Deutsch and Prins


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## justekaia (Jan 2, 2022)

Über (2015) from Mark André for clarinet, orchestra and live electronics performed by SWR SO Baden-Baden conducted by Roth


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## justekaia (Jan 2, 2022)

ça tourne, ça bloque (2007-2008) from Ondrej Adamek performed by Ensemble Orchestral Contemporain conducted by Adamek


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## tortkis (Jul 13, 2013)

I recently listened to some Neu Records albums including two interesting works for vibraphone and electronics by different composers. In both works the electronics sounds are blended and integrated in the music very well.

José Manuel López López: Vibrazoyd (2012)





Octavi Rumbau: En suspensió (In suspension) (2019)


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## SanAntone (May 10, 2020)

*Maija Hynninen*, _in the universe everything is a circle_ 
(for contrabass clarinet and electronics)






Dedicated to *Heather Roche*. Commissioned by Roche with the aid of the Finnish Composers' Sibelius Fund.


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## SanAntone (May 10, 2020)

*Francisco Uberto - PURE BLOOM *(2019)
bass flute, oboe, bass clarinet, accordion, cello w/ electronics






Ensemble S201:
Dimitry Stavrianidi, Bass Flute
Tamon Yashima, Oboe
Heni Hyunjung Kim, Bass Clarinet
Filip Erakovic, Accordion
Robert "Rob“ Alan Wheatley, Cello

Francisco Uberto (b.1988) shapes his musical ideas with intuition from within the digital side of sound. In his music he manages expectations in the most imaginative ways possible, like a cold war of emotions. The horizon of his realizations extend from solo pieces to orchestral works with and without the use of electronics.

He received training in composition in Argentina (UNC), and France (CNSMD Paris, and IRCAM), and was supported by several prestigious foundations from Europe, and Argentina since 2012.


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## SanAntone (May 10, 2020)

*Congregation of Drones – Twenty Twenty*

"Gesture of Devotion"






Is there a collective noun for drones? It wasn’t until i was about halfway through _Twenty Twenty_, the debut release from *Congregation of Drones*, that the question occurred to me. On the strength of this remarkable album, though, ‘congregation’ seems entirely appropriate. Congregation of Drones is a duo comprising violinist *Pauline Kim Harris* and *Jesse Stiles* on electronics. _Twenty Twenty_ is their first collaboration, created (as the title suggests) late in the year when the world took a turn for the pandemical. As such, the first two of the four pieces on Twenty Twenty were created in person, while the latter two were worked on remotely, due to lockdown. It’s therefore striking to note that there are no obvious signs of these different working conditions – if anything, those final two tracks are arguably the most compelling and cohesive (and, in the case of third track, ‘Experimental Treatment’, ambitious) on the album. (written by 5:4 October 4, 2022)


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## SanAntone (May 10, 2020)

*Andras Hamary* : _Buen Viage d’après capricho goya_ (2003)
for guitar and computer


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## SanAntone (May 10, 2020)

*Katherine Young : *_Diligence Is to Magic as Progress Is to Flight_
Developed in collaboration with violinist *Austin Wulliman*, _Diligence Is to Magic as Progress Is to Flight _is an installation-performance work comprising six pieces for prepared instruments, electronics, and chamber orchestra. These compositions are performed amidst an eight-channel installation. Sound sculptures, listening stations, visual installations, and projections further animate the performance space.


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## Andrew Kenneth (Feb 17, 2018)

*Jaime Reis* - Fluxus, Transitional Flow _for viola & electronics





_


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## tortkis (Jul 13, 2013)

Taylor Brook's Block (2022) for retuned steelstring guitar and optional electronics is an accompanying piece to the digital reissue of CRI recording of The Bewitched by Harry Partch.









Taylor Brook: Block, by Taylor Brook


from the album Harry Partch: The Bewitched / Taylor Brook: Block




composersrecordingsinc.bandcamp.com










Taylor Brook - Composer







www.taylorbrook.info





_Block compliments and contrast The Bewitched, taking inspiration from a spoken introduction given by Partch at a performance of The Bewitched in Chicago, 1957. In this introduction, Partch discusses our listening habits, playing on the expression of “in one ear and out the other,” by stating that he wants to create a “block between the ears... and when this block is effective all kinds of wonderful things happen: nerve impulses quicken, the adrenal glands begin to secrete their ecstatic hormones, the pancreatic juices begin to ooze.” Partch achieves this through his corporeal aesthetic, combining sound and sight in the musical theatre works that dominated his late output, The Bewitched among them. For myself, the immersed mental state is more often achieved using sound only - rather than exciting all the senses, focusing in on a single one. Combining the guitar with a corpus- based electronic accompaniment, Block invites the listener to enter the ecstatic experience that Partch describes._ - Taylor Brook


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## SanAntone (May 10, 2020)

*Jack Sheen*_* | Television continuity solos/poses* _(2016/2020)
commissioned by Sarah Saviet, BBC Radio 3 and Riot Ensemble

_Television continuity solos_ is a collection of three short solos for violin and audio. The piece also exists as a collection of pieces for solo violin and small ensemble, expanded by one additional movement, called _Television continuity poses_.


__
https://soundcloud.com/jacksheen%2Ftelevision-continuity-poses-20162020-version-for-violin-ensemble-audio


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## SanAntone (May 10, 2020)

*Alexander Khubeev* was born in 1986 in city Perm (Russia). He graduated from Moscow Tchaikovsky Conservatory in 2011 (class of composition of Yuri Kasparov, class of electronic composition of Igor Kefalidis), he finished his post-graduate course in Moscow Tchaikovsky Conservatory in 2014. Since 2019 co-founder and curator of Composition Course reMusik.org in Saint Petersburg, since 2021 he is artistic director of International Academy of Young Composers in Tchaikovsky city and teacher in Moscow Tchaikovsky Conservatory. Co-founder and co-director (together with Nikolay Popov) of multimedia festival "Biomechanics".

In 2015 he won prestigious Gaudeamus Prize (Utrecht, Netherlands), received scholarship of Darmstadt Summer Courses (2014), Berlin Academy of Arts (2018), residency Prix CIME (2019), Europäischer Komponistenpreis (Berlin, 2021).

*Don't leave the room* [2020]
performer, flute, clarinet, trombone, violin, cello, piano, percussion, live-video (by Yan Kalnberzin) and electronics
Commissioned by Aksenov Family Foundation for project "Russian music 2.0"
Duration: 11'






At first I was bothered by the soloist, but as the work progressed I perceived the interaction between the hand movements and the musical texture and accents. Very well done, and a composer I will continue to watch.


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## feierlich (3 mo ago)

I recommend Ying Wang's quite recent piece _528 Hz 8va_. She's currently one of the most important composers in the world.


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## SanAntone (May 10, 2020)

feierlich said:


> I recommend Ying Wang's quite recent piece _528 Hz 8va_. She's currently one of the most important composers in the world.


Your claim aside, I thought the work you posted was an excellent example of the kind of work for this thread. Plus, you brought to my attention a composer I had not heard of prior to your post. Many thanks for you contribution - please add more to other threads for new music.


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## SanAntone (May 10, 2020)

*JOANNA BAILIE* | _Dissolve_ (2020)
fl, cl, pf, vln, vla, vlc, tape, video
Co-commissioned by Explore Ensemble, HCMF and November Music.
21 minutes






PROGRAM NOTE
The long dissolve, is an old and rather unfashionable kind of film edit. It involves the slow(ish) transition between two things: two shots, or a shot and blackness. “Dissolve” makes use of multiple transitions both visual and sonic, on different time scales. The film material is a series of long-exposure photographs taken while walking down the streets of Berlin cross-dissolved together to create a dream-like, alienating version of an ordinary activity. The sound has at its basis field recordings made while walking along these same streets. These sounds also transition, most often between a concrete (real-world) and abstract (musicalized) state. The ensemble acts in various ways, sometimes distilling a solid musical line from the material in the electronic part, at other times providing a counterpoint to it.

I really like this kind of work, where the music is embedded within the field recording of traffic, and other environmental sounds, as well a complementary electronic textures.


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## SanAntone (May 10, 2020)

*Nicholas Denton Protsack — Into this Fracturing Land*
for cello and electronic media (2020)






performed by Nicholas Denton Protsack

Program Note by Composer:

The world has become like a fracturing land. A land of desolate plains and jagged mountains. A land of bottomless fissures and blazing skies. A land of anxiety and boredom and failed resolutions. A land where life and reason cling to existence, screaming defiantly in the face of an overwhelming darkness.

"Into this Fracturing Land" (2020) for cello and electronic media draws upon this hypothetical world as a musical summary of many of my thoughts and experiences over the last year and half. What does it mean to fail? What does it mean to collapse? Are we already living in a fracturing land? Can we undo the fracturing that has been set in motion?

Into this Fracturing Land utilized a tuning system in which the octave is divided into 31 equal steps, instead of the 12 steps used in most modern Western music.

The electronic and cello parts of this work sound very well integrated to me. I especially liked that much of the writing for cello incorporates stylistic material from other genres as well as the classical tradition.


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## SanAntone (May 10, 2020)

*Capricorni Pneumatici *– _Nibbas_ (1989/2022; Eighth Tower Records)

Capricorni Pneumatici was a prototype electroacoustic / ambient effort that began in the mid 1980s and was still a going concern as of a few years ago. Nibbas is a cassette release from 1989 recently reissued by Eighth Tower Records. (review)


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## SanAntone (May 10, 2020)

*Haythem Mahbouli ~ Last Man On Earth*

There was a time when the apocalypse seemed far enough away that movies like _The Road_ and series like _The Walking Dead_ were, whilst undoubtedly horrifying, still entertaining. There was a macabre fun to be had from imagining how we might handle the terrible situations these series depicted; we identified with the stronger characters; we told ourselves that if we found ourselves in similar circumstances, we’d make it through. For many of us in 2022, however, the sense that the apocalypse was distant has dwindled and for our friends in Ukraine it feels uncomfortably close.

*Haythem Mahbouli*‘s new album _Last Man On Earth_ takes this existential risk seriously. Right from the opening track, “The Chosen Ones”, the despair and destruction are depicted with all the emotional weight they deserve. The strings build to an absolutely spectacular climax, wrought with power. It’s hard not to get spine-tingles when listening. The track title is deeply ironic: only the “chosen ones” will survive, but will the future they live in be worth living? (continue reading)


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## NoCoPilot (Nov 9, 2020)

Zoe Keating uses extensive looping to create multi-layered pieces for solo cello. I think she's masterful.


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## SanAntone (May 10, 2020)

*Marc Barreca: Recordings of Failing Light 

Marc Barreca*'s _Recordings Of Failing Light _explores the subatomic matter of ordinary instrument sounds. Pianos, glass percussion, guitars, and feedback are atomized through sampling and granular processing in search of the audio equivalent of a negative image. In the end, these granular elements became the beds and pads for elaborate extrapolations of deconstructed melodic, rhythmic, patterned, and forward-looking sound-and with the addition of analog sequencer and arpeggiator based textures, some tracks reach back to Barreca's days with Young Scientist. Perhaps as an acknowledgment of the aesthetic guiding Jon Hassell's Seeing Through Sound, Barreca's work here finds it's origin in images. The gradations and modulation of light and dark in radiographs, rayograms, negatives, old black and white and sepia-tone photos all impart and inform a shaping influence to the waveforms and amplitudes of sound found in these twenty pieces.


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## SanAntone (May 10, 2020)

*Augen :: Inter/Flare* (Móatún 7)

*Gabriel Mendes* (aka Augen) is a microtonal-soundscaping artist active in the small sphere of leftfield experimentalism for a handful of years. After his convincing effort published the past year (Tripulante, Self Released) the sound explorer is back with a new opus welcomed by Iceland indie-based label Móatún 7 whose catalog is (almost) entirely devoted to electro-acoustic researches and modern abstract minimalism.

TUN009 - Inter/Flare


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## SanAntone (May 10, 2020)

*Pjusk : Salt og Vind*






_Salt og Vind_ (Salt and Wind) comes from Norway’s *Pjusk*, aka Jostein Dahl Gjelsvik. Arriving after an eight-year break, Salt og Vind is also Pjusk’s first solo outing. The record details the forces of nature and its contrasting mood swings, from the violent to the calm, the at-ease to the tempest, but the music also contains a very human struggle – maybe an abject failure – to latch onto the eternal and instead seek out temporary pleasures. The longer pieces counteract the lapsing attention spans of life in 2022, and the slower pace leaves behind a sense of lasting fulfilment. The difference is night and day.


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## SanAntone (May 10, 2020)

*Matt McBane : Bathymetry*






Composer and synthesist Matt McBane and the renowned Sandbox Percussion ensemble join forces on Bathymetry — a 40-minute piece in eight movements scored for monophonic Moog analog synthesizer and percussion. Drawing on classical minimalism, electronic textures, ASMR Youtube aesthetics and the diverse palette of ambient modular synth music, Bathymetry features McBane on his Moog Slim Phatty synth, with the members of Sandbox performing on a veritable playground of found instruments (mixing bowls, ping pong balls, glass bottles, etc.), orchestral percussion (vibraphone, tam tam, etc.), and drum sets.


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## SanAntone (May 10, 2020)

*John Luther Adams : Houses of the Wind*
Houses of the Wind is a shimmering, mesmerizing electro-acoustic piece composed in 2021.






The composer writes: 
“Much of my music of the past thirty-some-odd years has grown out of my experiences listening to aeolian harps. Yet, until now, I’ve never incorporated those sounds directly into the music

“In the last two decades of the 20th century, I made field recordings of elemental sounds all over Alaska—fire, ice, thunder, glaciers calving into the sea. Recently, I transferred those aging tapes to more stable media. Listening to the very first segment of a small aeolian harp, recorded in the Arctic in the summer of 1989, I was captivated. The voices of the wind singing through the strings of the harp brought back vividly the clarity of light, the sprawling space, and the sense of possibility I had felt.

“Houses of the Wind (2021–22) is composed entirely from that single ten-and-a-half-minute recording, transposed, layered on itself, and sculpted into five new pieces of the same length. (cold blue music)


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## justekaia (Jan 2, 2022)

SanAntone said:


> *Marc Barreca: Recordings of Failing Light
> 
> Marc Barreca*'s _Recordings Of Failing Light _explores the subatomic matter of ordinary instrument sounds. Pianos, glass percussion, guitars, and feedback are atomized through sampling and granular processing in search of the audio equivalent of a negative image. In the end, these granular elements became the beds and pads for elaborate extrapolations of deconstructed melodic, rhythmic, patterned, and forward-looking sound-and with the addition of analog sequencer and arpeggiator based textures, some tracks reach back to Barreca's days with Young Scientist. Perhaps as an acknowledgment of the aesthetic guiding Jon Hassell's Seeing Through Sound, Barreca's work here finds it's origin in images. The gradations and modulation of light and dark in radiographs, rayograms, negatives, old black and white and sepia-tone photos all impart and inform a shaping influence to the waveforms and amplitudes of sound found in these twenty pieces.


Thks so much for posting .This music is delightful.Would you be so kind to give some info on this composer. I know he is American and has been active since 1970, but you certainly have additional info.


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## justekaia (Jan 2, 2022)

Andrew Kenneth said:


> *Jaime Reis* - Fluxus, Transitional Flow _for viola & electronics
> 
> 
> 
> ...


Fabulous piece. Would you be so kind to inform us about other gems by this composer. Thks


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