86 Results for : dissonant
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White, Black and the Lies Between
A thoughtful and wise mixture between Hardcore, Metal And Rock, with changing vocal lines (from scream/growl to melody) covered by a rocking and dissonant sound. Taking influences from the alternative scene of the late 20th century, with lyrics inspired by personal experiences, social problems, and global visions, their sound is a balance between old school flavours and today's heavy music, definitely a must have for both new school hardcore addicted and 90's metal/rock lovers.- Shop: odax
- Price: 23.91 EUR excl. shipping
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Discovery
Discovery is Joe Strell's fifth release on the indie label Dansbane Eländet, following Dissonant Bridge (2008), In the Balance (2007), Enormous Morning (2006) and Under a Mackerel Sky (2005). This EP comprises five tracks (two brand new and three remixed versions, one from each of his first three CDs) showcasing a range of intensity and covering subjects from existential anxst to unrequited love.- Shop: odax
- Price: 14.57 EUR excl. shipping
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Level 7
The second release from The Robin Cox Ensemble. These tracks are a reflection of the ensemble's very unique instrumentation of percussion and strings as well as the provocative individuality of the contemporary classical influenced music the group regularly performs live in concert. The CD includes first recordings by Cox, Joseph Koykkar, Leslie Hogan, HyeKyung Lee, and a recording of Evan Ziporyn's What She Saw There in it's original instrumentation. Reviews: 'The Robin Cox Ensemble may very well be predisposed to monopolize the esoteric niche of string and percussion quartets, and judging from their new CD Level 7, why shouldn't they? Owing in part to a nicely taut performance by the ensemble, Joseph Koykkar's Music for Mallets and Strings showcases the surprisingly homogeneous qualities shared by the disparate instrumentation. In the case of Evan Ziporyn's What She Saw There, the solo cello often cuts against the ostinatos established by the marimbas, creating a congenial tension. The most unique handling of the group appears in Quickly Casual, a spunky piece full of odd motifs and evocative instrumental color. Pieces by the ensemble's founder and violinist-yes, Robin Cox-as well as Leslie Hogan complete this enjoyable collection.' ,-Randy Nordschow, NewMusicBox 'The Robin Cox Ensemble is a unique new music group that combines violin, cello, percussion, and live electronics to create vivid performances of new music. ...including on this--the group's second CD--the marvelous Evan Ziporyn.' ,-Sequenza 21 Magazine's 'Editor's Pick' TRACKS: (with notes from the composers) 1. Escher by Robin Cox  ,5:00 ...imagine Thelonious Monk walking around in one of the 'Relativity' series of artworks by MC Escher. 2. What She Saw There by Evan Ziporyn , ,14:21 ...I wrote it in a bamboo hut in Bali on a miniature Casio keyboard. I was there on a Fulbright, and I was thinking quite a lot about cross-cultural influences, about this strange phenomenon of being able to listen to and enjoy music that one didn't necessarily understand. I was thinking story-songs in unknown languages, where one can feel the drama and the course of the narrative, even if one doesn't know what's going on. I also was interested in finding links between the musical languages I did understand, so the melodies straddle a line between jazz, Balinese music, classical rhetoric, etc. 3. For Mallets and Strings by Joseph Koykkar , ,3:32 ...an interplay between sections featuring unison tutti passages and those of a more contrapuntal nature. A rhythmically driving mode of performance is demanded of the players. The composition is structured on the movement I to IV in relation to the tonic and subdominant notes of the scale, not by utilizing any traditional type of functional harmony or key modulation, but by providing a focus for pitch direction akin to a type of 'new tonality' which I have been exploring in my music over the past twenty years. 4. Thirty-Five by Leslie Hogan , ,5:00 ...inspired by driving the stretch of Interstate 35 between Dallas and Austin, Texas, on a bright, hot, and windy July day in 1999. The drive was pretty much like watching paint dry, the composer started to think about music for cruising. 5. Quickly Casual by HyeKyung Lee , ,9:18 ...designed to get back to, or out of, the notes C and D flat, this was my attempt to arrive at a more oriental sound (using C, D flat and G, F sharp, instead of a pentatonic scale). This music reflects an interest in combining colors of both my western education and of my Korean heritage within a personal style and sound. 6. Volt by Robin Cox , ,5:00 ...in an ensemble consisting of two very different instruments types, it is easy to find one's writing engaged in the duality of long, sweeping string gestures against the quick attack and beat oriented nature of percussion. Volt is a conscious attempt to avoid that 'role-playing' by presenting violin and cello with distinctly percussive tasks. I have also engaged in my increasingly common practice of, both in harmony and rhythm, juxtapositions between the highly consonant and highly dissonant.- Shop: odax
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Fiesta!
Iain Farrington - Fiesta! This recording features four piano works of varying and disparate angles: jazzy, political, pictorial and private. It is music that aims to encompass many contrasting elements, from technical virtuosity to calm simplicity, from tunefully melodic to harshly dissonant, from lightweight fun to melancholic seriousness. Fiesta! Fiesta! Is music about celebrations and merry-making. In seven short movements, the mood is unashamedly joyous, ranging from wild excitement to intimacy. Despite the title, there are no Spanish elements in the music. It was composed and first performed in 2003. Celebration establishes the scene with it's jumpy, knock-about rhythms, and champagne-popping spirit. Lively natterings and gossipings of individuals are heard in Conversations, arguing and laughing about life. To get people on their feet, the Stride Dance launches a lively, bouncing rhythm in a Hammond organ style. A gentle Song relaxes the atmosphere before the pounding, foot-stomping rhythms of Fast Dance. As the festivities draw on, a bluesy Nocturne slackens the pace, with an improvisatory solo at the heart of the movement. Renewed energy is found in the Finale, a carefree fugue that breaks into a frantic dance. The celebrations are nearly brought to a premature conclusion by protestations from the neighbours, but this is a party that could go on and on... Mozart Variations The theme for this set of variations is Figaro's aria Non più andrai, from the end of Act One of Mozart's The Marriage of Figaro. Figaro tells Cherubino that he will no longer be chasing girls, but will be joining the army, marching to victory. The variations are heard as one continuous piece, and exploit the threatening military nature of the aria. Composed at the outbreak of the Iraq war in 2003, the work follows a path from playfulness to swaggering arrogance, through distant fanfares to violence and aggression, culminating in tolling bells and a hollow victory march. Animal Parade Animal Parade is a depiction of ten familiar animals, from the tallest to the fastest, the biggest to the nastiest. It is an affectionate caricature of wildlife, exploring the unusual characteristics of these creatures in an entertaining assortment of organ effects. The work includes an optional narration with verses for each animal by Esther Eidinow. It was composed and first performed in 2007, paired with Poulenc's Babar the Elephant. 1 - Entrance: The stage is set with a lively, rhythmic introduction, capturing a playful mood. 2 - Giraffes: A wide-ranging melody depicts the height and flexibility of the giraffe's long neck. Teetering on fragile thin legs, the piece tiptoes along gingerly. 3 - Barrel organ monkey: Raucous oom-pah off-key music is dispatched on the organ-machine with cold, grim humour. 4 - Hippopotamus: Wallowing in thick muddy water, this is the slow life of a hippo. 5 - Critics: A worthy addition to the menagerie. The music is suitably unoriginal: fatuous fanfares, sarcastic laughter and three distorted quotes from musical masterpieces that received a critical mauling at their premieres. 6 - Blue whale: The gentle heart of the whole set. From the depths of the sea a whale gently rises to the surface for air. 7 - Sparrows: Chirping and darting around the scene, the birds merrily sing to each other. 8 - Penguins: Shaking from the cold, the penguins march along, taking the occasional dive into the sea. 9 - Cheetah: With teeth showing, the cheetah embarks on a wild chase after a hapless prey. 10 - Piranhas: A tense, still atmosphere is interrupted by three bloody feasts. 11 - Alley cats: Slinky and low-down with a bluesy mood, proud cats wander the streets, tails held high. A brief encounter leaves one slightly scratched. 12 - Exit: The opening music is recalled and expanded, providing a happy conclusion to the grand show. Night Journey Night Journey was derived from a request in 2004 to compose some short, relatively simple piano pieces, from Grades 4 to 8 in standard. This grew into 24 miniatures of varying character, still restricted by the original parameters. Although quite straightforward in terms of harmonic and technical difficulty, these pieces explore a wide range of pianistic sounds and textures. The music is often highly expressive and essentially melancholic. It was written not only as a compositional challenge, but also as a way of lifting spirits. The work is loosely based on the key structure of Chopin's Preludes, progressing through each major key and it's relative minor: C major/A minor, G major/E minor, D major/B minor etc. There is also recurring and developed material in movements 1, 7, 13, 19 and 24, giving an overall shape to the work. Iain Farrington has an exceptionally busy and diverse career as a pianist, organist, composer and arranger. He studied at the Royal Academy of Music, London and at St John's College, Cambridge University. As a composer, Iain has written chamber, instrumental, vocal and choral works. He was a featured artist in Musical Opinion, described as 'a musician of exceptional promise and accomplishment...the melodic and harmonic aspects of his music, allied to a genuine creative character, combine to produce an output that is both modern and attractive.' Among notable successes include his suite Fiesta! Performed in the USA, Australia, New Zealand, Sweden, France, Germany, and across Europe and the UK, with several recordings available. Iain has arranged and performed over one hundred diverse works, from Mozart to Gershwin. He is Arranger-in-Residence for the Aurora Orchestra. His solo piano arrangement of Elgar/Payne Symphony No.3 is published by Boosey and Hawkes, and his transcription of Elgar's Five Piano Improvisations was recently published by Novello. His chamber orchestral version of Dvorák's Rusalka was performed across the UK by English Touring Opera. Iain has performed at the Wigmore Hall, Queen Elizabeth Hall, the Purcell Room, the Royal Opera House, and in Japan, South Africa, Jordan and all across Europe. He performed two solo organ works in the BBC Proms 2007 in the Royal Albert Hall, which the Independent described: "This was his Proms debut, and an exciting one. He's an authentic star, and deserves to have a Prom all to himself." He works with many of the country's leading singers and conductors, including Bryn Terfel, Lesley Garrett, Sir Simon Rattle and Sir Colin Davis. Iain is the accompanist for the London Philharmonic Choir, working regularly with Vladimir Jurowski and Kurt Masur. He gives frequent broadcasts on BBC Radio Three and has recorded numerous CD's as accompanist and soloist. He regularly gives solo piano recitals all across the UK, with his repertoire embracing contemporary, British and light music, and his own Farrington Ensemble has performed in festivals across the UK.- Shop: odax
- Price: 20.06 EUR excl. shipping
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Banks of the Little Auplaine
THE BAND: Based in Minneapolis, founded officially in the summer of 2009, the members of Julie Johnson & the No-Accounts, who share a connection to the music program at Augsburg College, have been collaborating for several years. Julie Johnson has played with groups as varied as the Minnesota Chorale and the Texas blues singer Dede Priest, while Doug Otto (of Doug Otto & The Getaways) and Drew Druckrey (of The Jason Dixon Line), have also played together in bands such as The North Country Bandits. THE ALBUM: The original songs and versions of traditional Upper Midwestern tunes on The Banks of The Little Auplaine (written or arranged primarily by Julie Johnson, but developed by the band) straddle a line between song and composition, popular and chamber music. Influenced by many artists, including Gillian Welch, Astor Piazzolla, Patty Griffin, Heitor Villa-Lobos, Bela Bartok, and Robert Johnson, the band has struggled to define the music they make. Thomas Mann in The Magic Mountain comes the closest, in his description of those pieces that "fell between the two categories" of "the lofty and conscious creation of individual artists" and "simple folk songs ... in that they were products of an intellectual art, and at the same time sprang from all that was profoundest and most reverent in the feeling and genius of a people-artificial folk-songs, one might call them, if the word artificial need not be taken to cast a slur on the genuineness of their inspiration.' While the band started out playing the Delta blues tunes and traditional Southern standards that drew them to roots music-artists like Leadbelly, Howlin' Wolf, and Skip James-here they focus on soulful music from the Upper Midwest. They hope to be a part of finding and interpreting their own region's melodic, rhythmic, and thematic folk tradition and history. THE SONGS: Bob Dylan wrote the original Winterlude in 1970 for his album New Morning, but it's hard to find anyone who's ever heard of this unexpectedly sweet and light tune. A jaunty arrangement and an incongruous bass clarinet play up the charm of that surprise. The Removed. Based on characteristics of the French Canadian folk tune "Le Petite Rocher," this song's open, crystal-like harmonies speak to the landscape of Julie Johnson's childhood in Lake of the Woods County, Minnesota: the stark beauty of it's flatness, it's long blue-and-white winters. Originally written for two flutes, this version for flute and resonator guitar captures the effect Johnson originally intended. Writing this piece led to her deep interest in the folk tradition of the Upper Midwest. Arkan, a dance tune popular among the Ukranian Hutsul (from southwestern Ukraine), is often heard at the Ukranian Heritage Festival in Northeast Minneapolis, an area historically populated by Eastern European immigrants. Natalie Nowytski, of the Ukranian Village Band, introduced Johnson to the tune, who arranged it in a tango/bolero style, exploring the percussive possibilities of the mandolin, acoustic guitar, and bass flute. Found in Franz Lee Rickaby's Ballads and Songs of the Shanty-Boy, a collection of lumberjack songs from Minnesota, Michigan and Wisconsin that were popular in 1870-1900, the Golden Age of American lumbering, the haunting The Little Auplaine speaks to the dangers of the Upper Midwest's early industries. One of the only shanty-boy songs whose original authorship is known (W.N. Allen, also known as "Shan T. Boy," who wrote it sometime in the 1870s), Johnson's arrangement uses an altered version sung to Rickaby by M.C. Dean of Virginia, MN. Allen's version is in a major key, includes differences in the melody, and spells the title "The Little Eau Pleine." Laura Ingalls Wilder, author of the eight Little House books, which tell her family's story of living on the land in 1870-1889, is perhaps the most famous pioneer of the Upper Midwest. This version of the hymn The Home of the Soul, as sung by her mother Caroline, is found in The Laura Ingalls Wilder Songbook and referred to in the most harrowing book of Ingalls' series, The Long Winter. Snowed in in Dakota Territory during one of the harshest winters on record, near starvation, the family listens to the song with hope and dread: "The hymn blended with the wailing of the winds outside as Ma sat in her rocking chair and softly sang about the beautiful land where no storms ever beat." A traditional Métis jig includes both European (French, Scotch, and/or Irish) and Native influences, it's up-tempo, lively, and made for dancing. The Métis (a term at times loosely, at others strictly defined, here it is used to describe those of Native-Canadian or American-and European descent who trace their roots to the Upper Midwest or Canada) commonly included extra and irregular beats in jigs to challenge the quickness of a dancer's feet. Red River Jig is one of the most popular Métis fiddle tunes from the mid to late 1700's. Also found in Rickaby's collection and also sung by logger M.C. Dean, The Cumberland's Crew, though it describes an event that occurred far south (the sinking of the Union ship Cumberland off of Newport News, VA in 1862), was, according to Dean, "a great favorite among the boys." Johnson worked for a fraught and lonely mood with a bass flute solo followed by tight and often dissonant three-part harmonies. The shanty-boy worked alone, and, unlike the tunes sung by many other laborers, shanty-boy songs were not often accompaniment for group work. But in the evenings, when lumberjacks came together in camp, storytellers and singers were highly prized. Using extended techniques, the solo flute piece The Panther asks listeners to expand their ideas of what the flute can be and do. Johnson features the influence of Ojibwe music in this piece that drives aggressively forward like a chase. Minnesota Finnish communities often include Jos voisin laulaa (If I Could Sing) in celebrations of the festival of Midsummer (Juhannus). Joyce E. Hakala, in The Rowan Tree: The Lifework of Marjorie Edgar, Girl Scout Pioneer and Folklorist, includes the song and describes Edgar's work of collecting folk music, tales, proverbs and traditions from Finnish people on the Minnesota Iron Range. This song was sung for Edgar in Ely in 1930 and in Duluth in 1931, by various singers. Johnson's arrangement seeks to capture the enchanting mood of many Finnish folk songs. This version of Gary's Polka was collected by LeRoy Larson, head of the Minnesota Scandinavian Ensemble, and is a composite version of those played by Calmer Brenna, a Norwegian fiddler from Middle River, MN, and Bill Sherburne of Spring Grove. While the lazy beginning of Johnson's version was inspired by an old cowboy movie, the flute and clarinet runs in the second half play with both polka and jazz. Cover Art: The Banks of The Little Auplaine by T.J. Malaske Band Photos by Christine Rooney CD recorded at Wild Sound Recording Studio in Minneapolis, MN, and designed & manufactured by Noiseland Industries, Minneapolis, MN.- Shop: odax
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