#postclassical — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #postclassical, aggregated by home.social.
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Mousy Magazine – The Mockingbird
#Electronic #ambient #classical #modularsynth #postclassical #postclassical #scifi #synthesizers #Seattle
CC BY (#CreativeCommons Attribution) #ccmusic
https://mousymagazine.bandcamp.com/album/the-mockingbird -
Audio Obscura – Western Wind
#Electronic #ambientelectronic #electronica #minimal #piano #postclassical #UnitedKingdom
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://audioobscura.bandcamp.com/album/western-wind -
Rachel’s – Systems/Layers (2003, US)
Our next spotlight is on number 269 on The List, submitted by HerbT. This is the final album from Rachel’s, a post-classical/indie chamber project from Louisville, Kentucky started in 1991 by guitarist Jason Noble (formerly of post-hardcore band Rodan). The album was created in collaboration with a theatre company, SITI, for a production of the same name, the music born out of improvisational sessions where the musicians responded to what the actors were doing on stage. The result is breathtaking.
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/05/08/rachels-systems-layers-2003-us/
Want to skip straight to the music? Here's the Bandcamp: https://rachels.bandcamp.com/album/systems-layers
Happy listening!
#Rachels #JasonNoble #RachelGrimes #chamber #ModernClassical #PostClassical #neoclassical #PostRock #Louisville #music #1001OtherAlbums
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Rachel’s – Systems/Layers (2003, US)
Our next spotlight is on number 269 on The List, submitted by HerbT. This is the final album from Rachel’s, a post-classical/indie chamber project from Louisville, Kentucky started in 1991 by guitarist Jason Noble (formerly of post-hardcore band Rodan). The album was created in collaboration with a theatre company, SITI, for a production of the same name, the music born out of improvisational sessions where the musicians responded to what the actors were doing on stage. The result is breathtaking.
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/05/08/rachels-systems-layers-2003-us/
Want to skip straight to the music? Here's the Bandcamp: https://rachels.bandcamp.com/album/systems-layers
Happy listening!
#Rachels #JasonNoble #RachelGrimes #chamber #ModernClassical #PostClassical #neoclassical #PostRock #Louisville #music #1001OtherAlbums
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Rachel’s – Systems/Layers (2003, US)
Our next spotlight is on number 269 on The List, submitted by HerbT. This is the final album from Rachel’s, a post-classical/indie chamber project from Louisville, Kentucky started in 1991 by guitarist Jason Noble (formerly of post-hardcore band Rodan). The album was created in collaboration with a theatre company, SITI, for a production of the same name, the music born out of improvisational sessions where the musicians responded to what the actors were doing on stage. The result is breathtaking.
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/05/08/rachels-systems-layers-2003-us/
Want to skip straight to the music? Here's the Bandcamp: https://rachels.bandcamp.com/album/systems-layers
Happy listening!
#Rachels #JasonNoble #RachelGrimes #chamber #ModernClassical #PostClassical #neoclassical #PostRock #Louisville #music #1001OtherAlbums
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Rachel’s – Systems/Layers (2003, US)
Our next spotlight is on number 269 on The List, submitted by HerbT. This is the final album from Rachel’s, a post-classical/indie chamber project from Louisville, Kentucky started in 1991 by guitarist Jason Noble (formerly of post-hardcore band Rodan). The album was created in collaboration with a theatre company, SITI, for a production of the same name, the music born out of improvisational sessions where the musicians responded to what the actors were doing on stage. The result is breathtaking.
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2025/05/08/rachels-systems-layers-2003-us/
Want to skip straight to the music? Here's the Bandcamp: https://rachels.bandcamp.com/album/systems-layers
Happy listening!
#Rachels #JasonNoble #RachelGrimes #chamber #ModernClassical #PostClassical #neoclassical #PostRock #Louisville #music #1001OtherAlbums
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Rachel’s – Systems/Layers (2003, US)
Our next spotlight is on number 269 on The List, submitted by HerbT.
If the labels “indie chamber”, “classical post-rock”, “post-classical” or “subversives with a cello” pique your interest, you’re going to love this one. This is the final album from Rachel’s, a collective/project from Louisville, Kentucky started in 1991 by guitarist Jason Noble (formerly of post-hardcore band Rodan with Tara Jane O’Neil, who we’ll meet in another spotlight), then joined by violist Christian Frederickson and pianist Rachel Grimes to form a core trio, with the rest of the line-up differing a bit for each release. Kyle Crabtree, Edward Grimes, Greg King, and Eve Miller also join the group for this album, as well as a number of guest performers (including singer-songwriter Shannon Wright on one track).
Systems/Layers was created as a collaboration with the NYC-based SITI (Saratoga International Theater Institute) Company. The music was composed by Rachel’s for a SITI theatre production of the same name, and the album includes material performed live with the SITI Company and students from Utah State University and Skidmore College between July 2001 and June 2003. The album was then released in October 2003, nearly a year before the premiere of the theatre piece in September 2004 at Utah State University, in which Rachel’s performed the music live, backed by the production’s ensemble musicians.
And hopefully that background doesn’t scare off any listeners who aren’t big on theatre, as, truly, this album does not come off as a soundtrack or disembodied piece of work that requires knowing its context. It’s an absolute masterpiece that easily stands on its own, to the extent that it’s regarded by some as a seminal record in the world of post-classical music. That said, it definitely doesn’t hurt to know the album’s theatrical context, as it perhaps can give some insight into the track titles, use of field recordings, and how it all came together. There isn’t much indication in the album liner notes or on the band’s Bandcamp what this album is about, and so, if you’ll indulge me, here are the notes for the production’s program, written by the director and choreographer, Barney O’Hanlon:
In July of 1996 our Company was invited to teach a two week summer theater intensive at Emory University in Atlanta, Georgia. At the end of the workshop the participants presented final compositions based on the plays of Anton Chekhov. One of the compositions ended with an amazing piece of music that took my breath away. It was a duet for piano and cello. I ran up to the director after the performance and asked, “What was that music? Who was playing? I need to know!” And he said, “Oh, that’s Rachel’s.”
I immediately went to Tower Records to find Rachel’s… Rachel’s, as it turns out, is hard to classify. One can think of them as an indie-rock-band/classical-chamber ensemble, or a crazy classical band with an edge, or a “plugged-in” chamber group. But I now think of them as well… Rachel’s – the band.
…SITI and Rachel’s finally met in person in Louisville, Kentucky. We hit it off instantly and decided to dive into the deep end and make something together. But how does a band and a theater company create a show? What is the language we use? How do we communicate? How do musicians and actors collaborate?
We began by improvising, the actors on the stage and the band watching, listening and responding musically from the front. Right away it became apparent that how we make work as a theater company and how they make music together as a band was totally similar. What emerged in the space between was something completely unexpected and remarkably beautiful.
But of course the big question was what the show would be about. We found common ground in the age of information and globalization in which we live. As technology and industry becomes an increasing fact of life, as the world gets ‘on-line’ and we become more disassociated from our environment and from each other, how do we maintain our humanity? This is the primary question we were seeking to answer in our collaboration.
Quarterstick Records released Systems/Layers on vinyl for the first time in 2016, and that version also includes the band’s final release on side D, their gorgeous 18-minute EP from 2005, Technology is Killing People. The Bandcamp link below doesn’t include it, so make sure you give that one a spin as well if you like what you hear.
#chamber #JasonNoble #Louisville #modernClassical #music #musicDiscovery #neoclassical #postclassical #postrock #RachelGrimes #Rachels
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Rachel’s – Systems/Layers (2003, US)
Our next spotlight is on number 269 on The List, submitted by HerbT.
If the labels “indie chamber”, “classical post-rock”, “post-classical” or “subversives with a cello” pique your interest, you’re going to love this one. This is the final album from Rachel’s, a collective/project from Louisville, Kentucky started in 1991 by guitarist Jason Noble (formerly of post-hardcore band Rodan with Tara Jane O’Neil, who we’ll meet in another spotlight), then joined by violist Christian Frederickson and pianist Rachel Grimes to form a core trio, with the rest of the line-up differing a bit for each release. Kyle Crabtree, Edward Grimes, Greg King, and Eve Miller also join the group for this album, as well as a number of guest performers (including singer-songwriter Shannon Wright on one track).
Systems/Layers was created as a collaboration with the NYC-based SITI (Saratoga International Theater Institute) Company. The music was composed by Rachel’s for a SITI theatre production of the same name, and the album includes material performed live with the SITI Company and students from Utah State University and Skidmore College between July 2001 and June 2003. The album was then released in October 2003, nearly a year before the premiere of the theatre piece in September 2004 at Utah State University, in which Rachel’s performed the music live, backed by the production’s ensemble musicians.
And hopefully that background doesn’t scare off any listeners who aren’t big on theatre, as, truly, this album does not come off as a soundtrack or disembodied piece of work that requires knowing its context. It’s an absolute masterpiece that easily stands on its own, to the extent that it’s regarded by some as a seminal record in the world of post-classical music. That said, it definitely doesn’t hurt to know the album’s theatrical context, as it perhaps can give some insight into the track titles, use of field recordings, and how it all came together. There isn’t much indication in the album liner notes or on the band’s Bandcamp what this album is about, and so, if you’ll indulge me, here are the notes for the production’s program, written by the director and choreographer, Barney O’Hanlon:
In July of 1996 our Company was invited to teach a two week summer theater intensive at Emory University in Atlanta, Georgia. At the end of the workshop the participants presented final compositions based on the plays of Anton Chekhov. One of the compositions ended with an amazing piece of music that took my breath away. It was a duet for piano and cello. I ran up to the director after the performance and asked, “What was that music? Who was playing? I need to know!” And he said, “Oh, that’s Rachel’s.”
I immediately went to Tower Records to find Rachel’s… Rachel’s, as it turns out, is hard to classify. One can think of them as an indie-rock-band/classical-chamber ensemble, or a crazy classical band with an edge, or a “plugged-in” chamber group. But I now think of them as well… Rachel’s – the band.
…SITI and Rachel’s finally met in person in Louisville, Kentucky. We hit it off instantly and decided to dive into the deep end and make something together. But how does a band and a theater company create a show? What is the language we use? How do we communicate? How do musicians and actors collaborate?
We began by improvising, the actors on the stage and the band watching, listening and responding musically from the front. Right away it became apparent that how we make work as a theater company and how they make music together as a band was totally similar. What emerged in the space between was something completely unexpected and remarkably beautiful.
But of course the big question was what the show would be about. We found common ground in the age of information and globalization in which we live. As technology and industry becomes an increasing fact of life, as the world gets ‘on-line’ and we become more disassociated from our environment and from each other, how do we maintain our humanity? This is the primary question we were seeking to answer in our collaboration.
Quarterstick Records released Systems/Layers on vinyl for the first time in 2016, and that version also includes the band’s final release on side D, their gorgeous 18-minute EP from 2005, Technology is Killing People. The Bandcamp link below doesn’t include it, so make sure you give that one a spin as well if you like what you hear.
#chamber #JasonNoble #Louisville #modernClassical #music #musicDiscovery #neoclassical #postclassical #postrock #RachelGrimes #Rachels
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Rachel’s – Systems/Layers (2003, US)
Our next spotlight is on number 269 on The List, submitted by HerbT.
If the labels “indie chamber”, “classical post-rock”, “post-classical” or “subversives with a cello” pique your interest, you’re going to love this one. This is the final album from Rachel’s, a collective/project from Louisville, Kentucky started in 1991 by guitarist Jason Noble (formerly of post-hardcore band Rodan with Tara Jane O’Neil, who we’ll meet in another spotlight), then joined by violist Christian Frederickson and pianist Rachel Grimes to form a core trio, with the rest of the line-up differing a bit for each release. Kyle Crabtree, Edward Grimes, Greg King, and Eve Miller also join the group for this album, as well as a number of guest performers (including singer-songwriter Shannon Wright on one track).
Systems/Layers was created as a collaboration with the NYC-based SITI (Saratoga International Theater Institute) Company. The music was composed by Rachel’s for a SITI theatre production of the same name, and the album includes material performed live with the SITI Company and students from Utah State University and Skidmore College between July 2001 and June 2003. The album was then released in October 2003, nearly a year before the premiere of the theatre piece in September 2004 at Utah State University, in which Rachel’s performed the music live, backed by the production’s ensemble musicians.
And hopefully that background doesn’t scare off any listeners who aren’t big on theatre, as, truly, this album does not come off as a soundtrack or disembodied piece of work that requires knowing its context. It’s an absolute masterpiece that easily stands on its own, to the extent that it’s regarded by some as a seminal record in the world of post-classical music. That said, it definitely doesn’t hurt to know the album’s theatrical context, as it perhaps can give some insight into the track titles, use of field recordings, and how it all came together. There isn’t much indication in the album liner notes or on the band’s Bandcamp what this album is about, and so, if you’ll indulge me, here are the notes for the production’s program, written by the director and choreographer, Barney O’Hanlon:
In July of 1996 our Company was invited to teach a two week summer theater intensive at Emory University in Atlanta, Georgia. At the end of the workshop the participants presented final compositions based on the plays of Anton Chekhov. One of the compositions ended with an amazing piece of music that took my breath away. It was a duet for piano and cello. I ran up to the director after the performance and asked, “What was that music? Who was playing? I need to know!” And he said, “Oh, that’s Rachel’s.”
I immediately went to Tower Records to find Rachel’s… Rachel’s, as it turns out, is hard to classify. One can think of them as an indie-rock-band/classical-chamber ensemble, or a crazy classical band with an edge, or a “plugged-in” chamber group. But I now think of them as well… Rachel’s – the band.
…SITI and Rachel’s finally met in person in Louisville, Kentucky. We hit it off instantly and decided to dive into the deep end and make something together. But how does a band and a theater company create a show? What is the language we use? How do we communicate? How do musicians and actors collaborate?
We began by improvising, the actors on the stage and the band watching, listening and responding musically from the front. Right away it became apparent that how we make work as a theater company and how they make music together as a band was totally similar. What emerged in the space between was something completely unexpected and remarkably beautiful.
But of course the big question was what the show would be about. We found common ground in the age of information and globalization in which we live. As technology and industry becomes an increasing fact of life, as the world gets ‘on-line’ and we become more disassociated from our environment and from each other, how do we maintain our humanity? This is the primary question we were seeking to answer in our collaboration.
Quarterstick Records released Systems/Layers on vinyl for the first time in 2016, and that version also includes the band’s final release on side D, their gorgeous 18-minute EP from 2005, Technology is Killing People. The Bandcamp link below doesn’t include it, so make sure you give that one a spin as well if you like what you hear.
#chamber #JasonNoble #Louisville #modernClassical #music #musicDiscovery #neoclassical #postclassical #postrock #RachelGrimes #Rachels
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Rachel’s – Systems/Layers (2003, US)
Our next spotlight is on number 269 on The List, submitted by HerbT.
If the labels “indie chamber”, “classical post-rock”, “post-classical” or “subversives with a cello” pique your interest, you’re going to love this one. This is the final album from Rachel’s, a collective/project from Louisville, Kentucky started in 1991 by guitarist Jason Noble (formerly of post-hardcore band Rodan with Tara Jane O’Neil, who we’ll meet in another spotlight), then joined by violist Christian Frederickson and pianist Rachel Grimes to form a core trio, with the rest of the line-up differing a bit for each release. Kyle Crabtree, Edward Grimes, Greg King, and Eve Miller also join the group for this album, as well as a number of guest performers (including singer-songwriter Shannon Wright on one track).
Systems/Layers was created as a collaboration with the NYC-based SITI (Saratoga International Theater Institute) Company. The music was composed by Rachel’s for a SITI theatre production of the same name, and the album includes material performed live with the SITI Company and students from Utah State University and Skidmore College between July 2001 and June 2003. The album was then released in October 2003, nearly a year before the premiere of the theatre piece in September 2004 at Utah State University, in which Rachel’s performed the music live, backed by the production’s ensemble musicians.
And hopefully that background doesn’t scare off any listeners who aren’t big on theatre, as, truly, this album does not come off as a soundtrack or disembodied piece of work that requires knowing its context. It’s an absolute masterpiece that easily stands on its own, to the extent that it’s regarded by some as a seminal record in the world of post-classical music. That said, it definitely doesn’t hurt to know the album’s theatrical context, as it perhaps can give some insight into the track titles, use of field recordings, and how it all came together. There isn’t much indication in the album liner notes or on the band’s Bandcamp what this album is about, and so, if you’ll indulge me, here are the notes for the production’s program, written by the director and choreographer, Barney O’Hanlon:
In July of 1996 our Company was invited to teach a two week summer theater intensive at Emory University in Atlanta, Georgia. At the end of the workshop the participants presented final compositions based on the plays of Anton Chekhov. One of the compositions ended with an amazing piece of music that took my breath away. It was a duet for piano and cello. I ran up to the director after the performance and asked, “What was that music? Who was playing? I need to know!” And he said, “Oh, that’s Rachel’s.”
I immediately went to Tower Records to find Rachel’s… Rachel’s, as it turns out, is hard to classify. One can think of them as an indie-rock-band/classical-chamber ensemble, or a crazy classical band with an edge, or a “plugged-in” chamber group. But I now think of them as well… Rachel’s – the band.
…SITI and Rachel’s finally met in person in Louisville, Kentucky. We hit it off instantly and decided to dive into the deep end and make something together. But how does a band and a theater company create a show? What is the language we use? How do we communicate? How do musicians and actors collaborate?
We began by improvising, the actors on the stage and the band watching, listening and responding musically from the front. Right away it became apparent that how we make work as a theater company and how they make music together as a band was totally similar. What emerged in the space between was something completely unexpected and remarkably beautiful.
But of course the big question was what the show would be about. We found common ground in the age of information and globalization in which we live. As technology and industry becomes an increasing fact of life, as the world gets ‘on-line’ and we become more disassociated from our environment and from each other, how do we maintain our humanity? This is the primary question we were seeking to answer in our collaboration.
Quarterstick Records released Systems/Layers on vinyl for the first time in 2016, and that version also includes the band’s final release on side D, their gorgeous 18-minute EP from 2005, Technology is Killing People. The Bandcamp link below doesn’t include it, so make sure you give that one a spin as well if you like what you hear.
#chamber #JasonNoble #Louisville #modernClassical #music #musicDiscovery #neoclassical #postclassical #postrock #RachelGrimes #Rachels
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"their latest celebration of the almost thousand year old, groundbreaking and still resonating works and concepts of Hildegard von Bingen."
https://www.theslowmusicmovement.org/post/larum-o-orzchis-ecclesia-feat-okkyung-lee-puremagnetikFind them in the Slow Neoclassical Playlist:
https://www.submithub.com/link/slow-neoclassical-playlist#postclassical #experimental #electronic #electroacoustic #newyork #independent #artists
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Nujumi – Bayt Clarke
#Experimental #contemporaryclassical #electronic #folk #folktronica #postclassical #stringorchestra #synthesizer #Durham
CC BY-SA (#CreativeCommons Attribution Share Alike) #ccmusic
https://nujumi.bandcamp.com/album/bayt-clarke -
Chad Crouch – Banff Basin Soundwalk
#Soundtrack #ambient #birdsong #electronicmusic #fieldrecording #indie #instrumental #meditative #naturesounds #neclassical #newage #peaceful #postclassical #postclassical #production #Portland
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://soundofpicture.bandcamp.com/album/banff-basin-soundwalk -
Mezzanine by Keru Not Ever
[electronic post-classical]
https://infinitemachine.bandcamp.com/album/mezzaninefav tracks: L'oeil, Ghisolabella,Harmonies de la Brûlure
10/15
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"ambient Americana returns to jostle with genteel string recitals, although admittedly even in its quieter moments you’re never far away from an experimental flourish or two". Listen to the LP & read the full review in yesterday's newsletter, where you can get ALL the tips a day earlier - link in the profile.
https://theslowmusicmovement.substack.com/p/more-eaze-lacuna-and-parlor-mondojSlow Neoclassical Playlist:
https://www.submithub.com/link/slow-neoclassical-playlist#postclassical #ambient #americana #experimental #slow #music #independent #artist
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#MorningListening is the recent album from #Halvcirkel, a string quartet from Denmark focusing on 20th c. and contemporary #Classical / #PostClassical.
https://halvcirkel.bandcamp.com/album/vida
This album is all original compositions. They shout out #TerryRiley a lot on their Bandcamp page, and reference #ArvoPart, #CarolineShaw, #BrianEno, and #CarlNielsen among others. If those names perk your ears, you should definitely give it a listen -- it's great so far!
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How the hell did I not know this offshoot of #GodspeedYouBlackEmperor and #SilverMtZion (with many Turkish guest musicians) existed?! It's absolutely fantastic, great find from #1001OtherAlbums. :ablobdj:
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How the hell did I not know this offshoot of #GodspeedYouBlackEmperor and #SilverMtZion (with many Turkish guest musicians) existed?! It's absolutely fantastic, great find from #1001OtherAlbums. :ablobdj:
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How the hell did I not know this offshoot of #GodspeedYouBlackEmperor and #SilverMtZion (with many Turkish guest musicians) existed?! It's absolutely fantastic, great find from #1001OtherAlbums. :ablobdj:
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How the hell did I not know this offshoot of #GodspeedYouBlackEmperor and #SilverMtZion (with many Turkish guest musicians) existed?! It's absolutely fantastic, great find from #1001OtherAlbums. :ablobdj:
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How the hell did I not know this offshoot of #GodspeedYouBlackEmperor and #SilverMtZion (with many Turkish guest musicians) existed?! It's absolutely fantastic, great find from #1001OtherAlbums. :ablobdj:
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Revelling in the new Hania Rani album that just dropped for #BandcampFriday, "Ghosts". It is simply sublime, as I have come to expect.
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Released today, a collection of storm field recordings made over 5 years. Released on the Mortality Tables label. The storm sounds merge into minimal compositions, I've added light touches of piano, strings or subdued synth within the ever present white noise of storms
#postclassical
#storms
#whitenoise
#minimal
#fieldrecording
https://mortalitytables.bandcamp.com/album/lifefiles-lf11-the-naming-of-storms -
I'm off to Japan in Sep to develop new work with choreographer Satoko Fukuda. We have generous support to cover my flights & subsistence from Daiwa Foundation. The rest is self-financed. We need help with rehearsal, instrument hire, PA & equipment costs
https://www.gofundme.com/f/all-the-important-things-being-connected
#ContemporaryDance #Cello #Cellist #Composer #Choreography #ElectronicMusic #ElectroAcoustic #PostClassical
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my last solo performance with cello & electronics at Cafe tOo last September is being shown on YouTube next Thursday 30 March
#cello #cellist #improvisation #freeimprovisation #electroacoustic #postclassical #experimentalmusic #modularsynth #electronicmusic
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A fabulous, stylistically freakish debut LP from multi-instrumentalist Cisser Mæhl, whose softly told, intimate tales beckon you to come closer as she auto-conducts herself with Norwegian field recordings & explores what rigid classical training sounds like when fused with the joy of sound, infinite possibility & a rare talent for sound design.
https://www.theslowmusicmovement.org/blog/cisser-maehl-innemuseum-sonic-pieces
#experimental #fieldrecordings #neoclassical
#modernclassical #postclassical#pop #electronic #electroacoustic #music -
Been going through some improvisations from 2022. This was part of the work towards 'Bearing Witness' on 'Mouthful of Dust'
Going to try & keep more of a video music diary this year
#cello #cellist #modular #ModularSynth #improvisation #videodiary #postclassical #ableton #modernclassical #electroacoustic #dronemusic
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Been going through some improvisations from 2022. This was part of the work towards 'Bearing Witness' on 'Mouthful of Dust'
Going to try & keep more of a video music diary this year
#cello #cellist #modular #ModularSynth #improvisation #videodiary #postclassical #ableton #modernclassical #electroacoustic #dronemusic
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Been going through some improvisations from 2022. This was part of the work towards 'Bearing Witness' on 'Mouthful of Dust'
Going to try & keep more of a video music diary this year
#cello #cellist #modular #ModularSynth #improvisation #videodiary #postclassical #ableton #modernclassical #electroacoustic #dronemusic
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As we float aimlessly in the post-Christmas/pre-New Year Twilight zone not knowing whether to work or carry on overeating, the new electoacoustic LP from Thomas Stone on Bloxham Tapes, where his classical contrabassoon is played in all sorts of peculiarly resonant spots & then guided into the electronic present, is a wonderfully vague, eerily conjoined, oddly comforting soundtrack for all sorts of limbo states & gastric unease.
https://www.theslowmusicmovement.org/blog/thomas-stone-an-act-of-surrender-bloxham-tapes
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CD copies of 2019's Border Land with 80% discount. Artwork by
#stroud artist Ann-Margreth Bohl & contributions on cornet by Harry Furnissfor the CD use
janus
& if physical format is not your thing then for digital use
janus23
https://simonmccorry.bandcamp.com/album/border-land
“electro-orchestral drone-scapes of, by turns, gauzy intimacy and soaring grandeur” MOJO
#cello #cellist #postclassical #modernclassical #ambient #experimentalmusic #drone
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Been going through some asynchronous sound on sound loop improvisations from a couple of weeks ago & mixing them down for Bandcamp subscribers. Some interesting material here to hear
https://simonmccorry.bandcamp.com/subscribe
#cello #cellist #looping #SoundOnSound #phasing #minimalism #electroacoustic #postclassical #modernclassical #improvisation #experimentalmusic #bandcamp
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Been going through some asynchronous sound on sound loop improvisations from a couple of weeks ago & mixing them down for Bandcamp subscribers. Some interesting material here to hear
https://simonmccorry.bandcamp.com/subscribe
#cello #cellist #looping #SoundOnSound #phasing #minimalism #electroacoustic #postclassical #modernclassical #improvisation #experimentalmusic #bandcamp
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Been going through some asynchronous sound on sound loop improvisations from a couple of weeks ago & mixing them down for Bandcamp subscribers. Some interesting material here to hear
https://simonmccorry.bandcamp.com/subscribe
#cello #cellist #looping #SoundOnSound #phasing #minimalism #electroacoustic #postclassical #modernclassical #improvisation #experimentalmusic #bandcamp
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Bow in the mouth seems to be a common pose for me when dealing with other gear either in performance or the studio. I don’t even realise it. Like doing everything one handed while holding the cello.
Photos from last Wed
Cafe OTO for Naviar Records Haiku Fest by Dawid Laskowski#cello #cellist #improvisation #CafeOTO #looping #ModularSynth #perofrmance #electroacoustic #modernclassical #electronicmusic #postclassical
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taken awhile but there is only 1 CD left of my first & self released album 'Blue'
https://simonmccorry.bandcamp.com/album/blue
have played with the idea of reworking and rerecording the cello tracks but this would be a very different thing. I don't plan to do a 2nd rerun as it is here
#cello #modernclassical ´#postclassical #cellist #drone #dronemusic #minimalism #looping #phasing
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taken awhile but there is only 1 CD left of my first & self released album 'Blue'
https://simonmccorry.bandcamp.com/album/blue
have played with the idea of reworking and rerecording the cello tracks but this would be a very different thing. I don't plan to do a 2nd rerun as it is here
#cello #modernclassical ´#postclassical #cellist #drone #dronemusic #minimalism #looping #phasing
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taken awhile but there is only 1 CD left of my first & self released album 'Blue'
https://simonmccorry.bandcamp.com/album/blue
have played with the idea of reworking and rerecording the cello tracks but this would be a very different thing. I don't plan to do a 2nd rerun as it is here
#cello #modernclassical ´#postclassical #cellist #drone #dronemusic #minimalism #looping #phasing
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taken awhile but there is only 1 CD left of my first & self released album 'Blue'
https://simonmccorry.bandcamp.com/album/blue
have played with the idea of reworking and rerecording the cello tracks but this would be a very different thing. I don't plan to do a 2nd rerun as it is here
#cello #modernclassical ´#postclassical #cellist #drone #dronemusic #minimalism #looping #phasing
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Honoured to have tracks from ‘mouthful of dust’ bookend this #Fogcast #ResonanceFM. That was my morning listening sorted. Lovely to hear work by fellow #Stroud dweller @andrewheatharts & also that of #ChristineOtt. Thanks to Robin The Fog
https://www.mixcloud.com/Resonance/robin-the-fog-fog-cast-ep-111-30-nov-2022/
#postclassical #lowercase #ambient #modernclassical #cello #cellist #minimalism
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Honoured to have tracks from ‘mouthful of dust’ bookend this #Fogcast #ResonanceFM. That was my morning listening sorted. Lovely to hear work by fellow #Stroud dweller @andrewheatharts & also that of #ChristineOtt. Thanks to Robin The Fog
https://www.mixcloud.com/Resonance/robin-the-fog-fog-cast-ep-111-30-nov-2022/
#postclassical #lowercase #ambient #modernclassical #cello #cellist #minimalism
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Honoured to have tracks from ‘mouthful of dust’ bookend this #Fogcast #ResonanceFM. That was my morning listening sorted. Lovely to hear work by fellow #Stroud dweller @andrewheatharts & also that of #ChristineOtt. Thanks to Robin The Fog
https://www.mixcloud.com/Resonance/robin-the-fog-fog-cast-ep-111-30-nov-2022/
#postclassical #lowercase #ambient #modernclassical #cello #cellist #minimalism
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#BandcampFriday today so the hosting website won't take any commission and i'll receive 100% of sales. I'm down to the final 10 copies of this on CD. Music & spoken word on the theme of climate change. Features exclusive words by George Monbiot, Ian McMillan and many more.
When they're gone, they're gone!!! #Anthropocene #postclassical #ambient #electronica https://audioobscura.bandcamp.com/album/and-you-may-find-yourself-living-in-an-age-of-mass-extinction -
This time ignoring #bandcampfriday, have other things to do & think about. You’ll find latest release of mine here
polarseasrecordings.bandcamp.com/album/mouthful…
& here
shimmeringmoodsrecords.bandcamp.com/album/scenes-f…
& of course here
https://simonmccorry.bandcamp.com/
#cello #cellist #postclassical #modernclassical #experimentalmusic #modularsynth #minimalism
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‘Adrift’ the full version ‘drift’ on Whitelabrecs Sleep Laboratory 3.0
Improvised cello through a microcosm. This pedal can chuck stuff back unpredictably, forcing me to have to listen & engage as a performer. Using this more & more in my live set up
https://polarseasrecordings.bandcamp.com/track/adrift
& the shorter ‘Drift’, my most played track on Spotify
https://open.spotify.com/track/5tqtvbQLMqQ248AKFtY6pP
#cello #cellist #microcosm #improvisation #postclassical #ambient #electronicmusic
