Source: Second Editions.
claire rousay – Both
claire rousay has been exploring the sensitivities of sound always in relation to “the self” and “the other”, equally. Her work is always seen as a contribution, as engagement. Recording, collaging and composing become acts of considering, remembering, giving. Therefore music becomes a context, or more precisely, a habitat. But what does it say about this music when the artistic choice goes deeper, when it is not only an urge to express but to find oneself? When there is more to communicate, to connect to than a “musical work”? This new record features two attuned location-based Hörstücke that sit somewhere between conceptual composition and magical realism. Library is a site-specific piece recorded at, and played back to the halls of the Central Library in San Antonio, Texas. A meticulous recording of social against functional space. Mixing a live microphone feed through a pair of loudspeakers and accompanying it with two sine tones pitched specifically to the building’s dimensions and resonant frequencies, rousay is blending architectual space and human interaction into one curated arrangement. On the opposite side, Two Things acts as a transient dream sequence, an elusive mise en scène. It provides a sense of location so familiar yet very disorienting. A (re)introduction to a periphery state, a fictional truth, an outside world constructed entirely and deliberately from the inside of an apartment.
Roger Tellier-Craig – Études
This CD holds four new compositions conceived by Roger Tellier-Craig during his studies at the Conservatoire de Musique de Montréal. Merging subject into object, opposing chance to narrative, putting source against sound. Tellier-Craig constructs and simultaneously questions the relation of composition and/as deconstruction. These pieces, or studies, are as much about organization as they are about irruption, or attention and idleness. Seeking to configure tensions through the use of differences, creating an extensive network of relationships between differing sonic phenomena. Time and sound coherent and in contrast in an acoustic space. But this goes beyond homage, and has nothing to do with electroacoustic nostalgia. These pieces carry a present day urgency. What does it mean to utilize, to arrange, to listen?
Lori Goldston – Things Opening
Lori Goldston’s approach to the violoncello is true and immediate. Describing herself as “classically trained and rigorously de-trained”, Goldston indeed defies all conformities of genre, style and technique. Her playing reflects as much of Baroque as it does of American roots or experimental traditions. It is elegant, gritty, restless, delicate, irreverent, utterly pure. This album comprises of two parts, highlighting Goldston as both a distinct composer as well as a many-faceted performer. The first side holds a suite of songs written by Goldston to accompany the poems of Melinda Mueller, while the second features pieces written for Goldston by Jessika Kenney, Satchel Henneman and Julio Lopezhiler.