AMN Reviews: Lauren Redhead – Hearmleoþ—Gieddunga (2018; Pan y Rosas)

Lauren Redhead is a UK electroacoustic composer who currently is a lecturer in music at Canterbury Christ Church University. Hearmleoþ—Gieddunga, roughly translated as Sorrowful Songs—Prophecies, is her latest of several album-length releases.

While the term “unique” gets thrown about when reviewing experimental music, there is perhaps no better word to describes Redhead’s output. While her focus is on organ and voice, Hearmleoþ—Gieddunga is a collaborative composition with her on these instruments, as well as harpsichord and various woodwinds. She provided the scores, texts, samples, and overall direction for the project. Then collaborator Alistair Zaldua further developed the pieces in live environments and added violin, double bass, percussion, and electronics. Finally, Josh Cannon added further overdubs in the studio with a combination of programming, mixing, and mastering. The focus is on texture, structure, and palette more than melody or rhythm.

Perhaps the most striking aspects, however, are Redhead’s use of voice and vocals. There are extensive spoken-word elements, but these are not dominating, and often multiple voices mix unintelligibly in the background. Thus, aside from a few moments of text recitation, voice is used as another instrument. But when overlayed with scattered and brief acoustic motifs, as well as layers of electronics and drones, Hearmleoþ—Gieddunga takes on a character of its own. In fact, the electronic and acoustic parts often blend to the point of being indiscernible from one another.

As an example, the 15-minute Ingenga begins with disjointed violin sawing and spoken-word vocals over an amalgam of indistinct voices and background drones and rumbles. The stringed instruments squeak while the speaking grows more intense and drones mix with percussion and take the form of a crackling wall of sound.  By the seven-minute mark, organ chords and bells have joined and the voices have dropped out. Afterward, harpsichord plays over dense layers of electronics combined with long-held notes. Organ chords return with lightly grinding electroacoustics and stray voices.  A heady journey, indeed.

Hearmleoþ—Gieddunga is another excellent offering from Pan y Rosas and in the running for album of the year. Well done.

An Alternate History of Canadian Electronic Music (1956 – 1981)

Source: send+receive.

An Alternate History of Canadian Electronic Music (1956–1981)

October 4 – November 3, 2018
Poolside Gallery, Video Pool Media Arts Centre, 221-100 Arthur Street, 2nd Floor
FREE | Wednesday–Saturday, 12:00–5:00 PM

Broadcasts on CKUW 95.9 FM Wednesdays & Sundays, October 14 – 31

As special programming for our 20th edition this year (2018) we invited American artist and archivist Keith Fullerton Whitman to curate a program of obscure Canadian electronic music. Digging through crates, libraries and more Whitman sourced original vinyl copies of all of the works that were brought together for this incredible 3-hour playlist, which is presented in a lovely listening lounge at Poolside Gallery in the Exchange District. Accompanying this special program is the entire poster archive of the past 20 years of send + receive!

We present this wonderful adventure through Canadian music history in partnership with Poolside Gallery / Video Pool Media Arts Centre and with a generous furniture sponsorship from EQ3 – until November 3.


Beginning this weekend the playlist will also be presented as a three-part series on CKUW 95.9 FM. The radio feature runs twice weekly – Wednesdays & Sundays – and begins this weekend:

Part 1: October 14, 5-6pm and October 17, 9-10pm
Part 2: October 21, 5-6pm and October 24, 9-10pm
Part 3: October 28, 5-6pm and October 31, 9-10pm

Edgefest Preview

Source: ClickOnDetroit.

Starting Wednesday, Edgefest will take over the Kerrytown Concert House for its 22nd year. Bringing talent from all over to Ann Arbor, the theme of this year’s Edgefest is Chicago-Out Kind of Town, and for four days, artists will celebrate cutting-edge Chicago smooth jazz, innovative house music and unconventional blues.

Home to avant-garde music for decades, artists from the Windy City are known for their experimental sounds, musical improvisation and social engagement. Created by Dave Lynch in 1997, this year’s Edgefest will commemorate music created by artists from the Association for the Advancement of Creative Musicians and the Art Ensemble of Chicago.