Emby Alexander is the latest artist to join the roster at Bigo & Twigetti, whose EP "Dressed Undressing" is available for pre-order on Bandcamp (coming out on June 17th). If you like your chamber pop, then you should check out the title track below, a summery, reverberant, girl-group infused piece of delicious.
... and also there's this great video for "Drag The Long Way Home" where Emby seems to be lost in a cave without any clothes on, possibly under threat of a three headed plasticine creature. It's way better than that description, check it out below:
What makes Machines instantly unique and captivating, is the soprano of Laura Wolk-Lewanowicz, an Australian opera singer. The angelic voice, teamed with the theme of the album, create a very touching commentary on the current human condition.
The lovely Madga Wrzeszcz has reviewed Machines for Echoes and Dust. Click here to read more.
Needless to say I was chuffed with the way Ruthless Jabiru played "Kick" and the feedback from the performance has been great:
The concert opened with a new work, Kick, by Leah Kardos. This is Ruthless Jabiru’s first commission, and it was a great opener. Kardos uses a small palette of string textures, including long vibrato-less pedals, tremolos and portamento slides, and integrates them into a tightly structured and impressively focussed work.
- Gavin Dixon (classical music critic)
The skill and professionalism of this orchestra, and its founder and principal conductor Kelly Lovelady, was clearly evident throughout the performance, not least in their handling of the first piece – a commissioned work from UK-based Australian composer Leah Kardos, Kick. This fantastic piece evoked visions of a sunrise over an outback property, the building melodies of a single viola and violin sounding out like the Australian bush slowly waking and coming to life.
- Australian Times
Here's a write up about the event that was posted on the Government of Western Australia European Office's news page. It includes details of some of the dignitaries that were in attendance as well as some photos from the night (though it's hard to see, in the last photo I am the one in the blue dress taking a bow with Kelly at the front).
Finally, there is a great article about Kelly and the orchestra by Gavin Dixon, specifically referring to this concert, in this month's Limelight magazine (available digitally here, with print versions available in Australian outlets).
*edit* - I found the Limelight Magazine feature online here.
Click here to check it out.
Just got back from a trip to Australia where I got to see my much-missed family in QLD, complete my PhD thesis review milestone at UQ, enjoy the warmth of the sun, see some friends and celebrate my 34th birthday in Sydney. While in Sydney I got to meet up with Peter Hollo (online friend, fellow musician and radio presenter) to chat about music, ideas and things for his programme 'Utility Fog' for Sydney FBi 94.5FM. You can listen to a replay/podcast that conversation, and the whole show online here.
Bigo & Twigetti has been asking artists on the label to remix each other's tracks, with a compilation of the results being released later in the year. My remix effort was a chopped up version of 'Fighters' by Alice & Michi, a small clip of which you can listen to here on Bigo & Twigetti's soundcloud.
Meanwhile excitement builds (in my mind most of all) for the concert featuring the world premiere of 'Kick', performed by the all-Australian London-based chamber orchestra Ruthless Jabiru, hosted by the Government of Western Australia. The concert will be held at Australia House in London on the 9th of May - information about tickets/RSVP and the rest of the programme can be found here. The concert has been written about in the Australian Times, too.
The performance, to be held on 9 May, will be hosted by the Government of Western Australia, alongside a reception of West Australian fine wines.
Click here for ticket & RSVP info
Just found this under a pile of old scores in my writing room. This mind map is from before the start of Machines, and it's interesting (for me, at least) to see this now after the thing is finished and out, comparing the intentions against the reality. Also shows my penchant for brightly coloured felt tip pens.
Laura Wolk-Lewanowicz & Leah Kardos (photo by Jez Brown, Feb 2013)
One can’t fail to be impressed by Kardos, her debut album was a delight and Machines is not content with delivering more of the same, but strives to push new angles and ideas, blended with verve, imagination and, most importantly, a sense of unconstrained freedom to experiment. Naturally, this brings mixed results, but ultimately everybody can take something precious from the jewel box.
- Barcode Zine
Machines has a wholeness that is quite remarkable. But equally impressive is the manner in which Kardos conceals her virtuosity. Nothing draws attention to itself; everything is deployed in pursuit of an organic integrity. I had listened to the album several times before my attention was conscious of astonishing passages such as the intertwining keyboard lines that close “The Closeness of Distance” or the poly-temporal percussive underscoring of “Highly Active Girls.” The entire album is beautifully paced, with each individual track fitting into a larger whole. The phrase “song-cycle” is entirely apt.
- David D. McIntyre for I Care If You Listen
If you're interested in that sort of thing, CLICK HERE to see the lyric sheets in full, as sung on the album "Machines", with the original spam messages alongside.
Exciting times! Meanwhile, you must forgive me for laying low for the moment; usually I would be plugging an album launch event and promoting the hell out of things but it appears that I'm chained to my computer writing up my PhD for the next two months. The plan is, once I have handed everything in, to throw a belated album launch party/event and schedule some live performances of Machines in late spring/early summer. Watch this space for updates. x
I'm gutted about having to miss it; fortunately my label mate Microseq has stepped up to fill the gap left in my wake. Anyone who was intending on going, should still definitely go because it's going to be an awesome night & I wish I could be there too. To see Jim Perkins' "Emergence" live with the animations will be worth the ticket price alone x
Machines will be released by Bigo & Twigetti on the 25th of February, 2013, and features guest vocals from Australian soprano Laura Wolk-Lewanowicz and the lovely Catherine Saumarez on Cello.
I was so chuffed and honoured to be asked to contribute a track to this amazing benefit compilation curated by Headphone Commute. It's a killer lineup of artists, featuring many personal heroes of mine (Clint Mansell! Hauschka! Nils Frahm!), who wouldn't be honoured to be in this crowd? The aim is to raise money to help people who were affected by Hurricane Sandy, with 100% of the proceeds being donated towards Doctors Without Borders and The Humane Society. It's a gigantic release featuring 87 artists and over 6 hours of gorgeous music; $10 = bargain of the year!
Here is info from Headphone Commute:
Headphone Commute is incredibly proud and honored to announce a colossal benefit compilation, with 100% of the proceeds being donated towards two charitable organizations, Doctors Without Borders and The Humane Society, to help all those affected by Hurricane Sandy!
Available as a download via above link on Bandcamp (320kbps MP3, OGG, FLAC, etc.), this digital release is sold for only $10 or more if you wish to donate towards our cause. The selection of tracks comes from some of the world’s top talent in ambient, modern classical, and experimental music.
Clint Mansell • Nils Frahm • Hauschka • Machinefabriek • Valgeir Sigurðsson • Christoph Berg • Hummingbird • Simon Scott • Marcus Fischer • Peter Broderick • Black Swan • Rival Consoles • Lawrence English • Kate Carr • Ólafur Arnalds • Waves On Canvas • Maps And Diagrams • Dalot • Good Weather For An Airstrike • Leah Kardos • Ezekiel Honig • Radere • Fabrizio Paterlini • Netherworld • Stephan Mathieu • Talvihorros • Pleq • Antonymes • Brambles • Clem Leek • Minus Pilots • Olan Mill • Ian Hawgood • loscil • Bersarin Quartett • Hammock • M.Cadoo • Jóhann Jóhannsson • Rafael Anton Irisarri • Helios • Mike Jedlicka • Christopher Willits • :papercutz • Dakota Suite • Kreng • Aria Rostami • Peter Prautzch • The Frozen Vaults • riverrun • pinkcourtesyphone • David Wenngren • offthesky • Autistici • Strië • A Bleeding Star • Kane Ikin • Sun Hammer • Roel Funcken • Wabi Experience • Another Electronic Musician • Scanner • Erik K Skodvin • Julien Neto • Absent Without Leave • Last Days • Stray Ghost • Trifonic • Marcus Fjellström • Gen Ken Montgomery • David Newlyn • Boy Is Fiction • SaffronKeira • Ben Lukas Boysen • Ex Confusion • Seth Chrisman
I'm so happy to announce that I have been commissioned for a major new work by Kelly Lovelady's all-Australian London-based chamber orchestra Ruthless Jabiru. Aiming for a premiere performance in London in March 2013, it will be a 15 minute piece for strings that abstractly explores themes of modern sensuality and sound. Here's a little snippet from my proposal that explains what I hope to achieve:
Focussing on a language characterised by texture, timbre and harmony, I would like to compose a continuous 15 minute work for string orchestra (Ruthless Jabiru) that abstractly explores ideas of modern sensuality, in particular aggressive feminine sexuality, and notions of power and control. Nothing timid or pastel here, nor will it be overly dark and morose, but a picture painted in vivid beautiful colours. I would like to tease out some ideas about the language that is implied by the contentious term "woman composer" and twist them around, subverting expectations.
The string orchestra is the perfect ensemble to orchestrate with a view to pinching ideas from the realm of the studio composer/producer, where the sonic and timbral possibilities are so diverse and flexible, and yet from a sound world so well worn and timbral language so familiar. I want to play with compositional and sonic concepts that I commonly hear being exploited in studio based music production, but rarely in orchestral writing; ideas that relate to perception, psychoacoustics and the communicative power of timbre. Observing the internal listening process, which is coloured by context, and then trying to recreate that sensation externally in a concert hall. I want to try and emulate the throbbing compression effect of "ducking" to play with sound priorities in a live performance space - perhaps turning tiny sounds into giants and the well known big sounds of a string orchestra into something very distant and small. Real and 'fake' reverberence to achieve illusions of distance and size.
These are just some of the ideas I wish to play with, to add new colours to the tonal pallette in order to furnish and illustrate a (what will probably be quite dirty) story.
The wonderful graffiti wall out front.
The Dark Side of the Moon console, a.k.a. MUSIC TECH PORN
It should say: "On hearing an alarm, ignore the screams of your burning friends and colleagues. RUN to the second floor corridor and rescue the Sgt Pepper 4 track console. Ride it to safety."
James helps James with those high notes.
My next record for Bigo & Twigetti, which is still yet untitled but currently being referred to as "Machines", is a song cycle based on themes of technology, loneliness and the human condition. All of the texts have been taken from various spam emails that I have been collecting over the past few years, using the cut-up technique to find new combinations, meanings and narratives - an idea nicked from Burroughs via Bowie. I'm not wanting to give the world the impression that I spend all of my spare time pouring over every unsolicited email (bear with me), but over time a few messages that I've seen have caught my eye, seemed poignant; the random texts generated in a few created nice images and juxtapositions in my mind. Overall I was arrested by the notion of humans trying/wanting/needing to reach each other for whatever reason, and the kinds of things they will say in order to seduce, ensnare, or foster feelings of trust. What lengths we go to to be noticed.
These kinds of things:
From here, and the resulting cut-ups, the cycle began to take shape; songs about intimacy and insecurity, greed, automation and screaming into the void. I could yap on about it all, but I think I'll leave that stuff for another time. For now, there's a little snippet from "Incantation" (still a work in progress, featuring the gorgeous voice of Laura Wolk-Lewanowicz) on the Bigo & Twigetti soundcloud:
More to come very soon, I promise. x