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Commission from the GRM

I’m delighted to share some exciting news – I have been commissioned by the Groupe de Recherches Musicales (GRM) to write a brand new piece of acousmatic music. The piece, which is to be around 20 minutes in duration, will be performed live in concert as part of the GRM’s festival series in May 2020. I shall post more detailed information when I have it but, for the meantime, here is a cool picture of the concert hall where the piece shall be performed:

Metallurgic in Chile

Metallurgic has been selected for Ai Maako festival in Chile, and shall be performed on 10th Oct 2019. I’m delighted to be selected as one of 9 for the festival, particularly since there were some 90 submissions in total. Once again, it looks like an amazing event…

Baltazar’s Adventure…

I’m very happy to share a new piece with you all – it is called Baltazar’s Adventure through the Great Machine. It was commissioned by Kelham Island Museum and Arts Enterprise, Sheffield, and responds to the various sounds recorded on location. Since those sounds were mainly of substantial engines and machines, my piece imagines the adventures of Balthazar – a miniature character who is journeying through a great steel engine.

You can listen to an excerpt of the piece, here:

Binaural mix of 10 Billion

Get your headphones out – I have a new binaural mix of my monstrous 40-minute, 10-channel piece based on the number 10 Billion. It contains 10 billion sounds, but I’ve been unable to produce a meaningful stereo version… until the visit from the GRM last week, where they showed me an adapted spaces plug-in, which allows any number of simulated channels to be mapped to a binaural mix. I’ve just pasted an excerpt on soundcloud (the whole to follow in due course):

A visit from the GRM

Last week, we were very happy to receive a visit from Philippe Dao and Emmanuel Richier from the GRM. In addition to being unbelivably lovely people, Philippe and Emmanuel presented on the history of the GRM, the interest in space, and the purpose-built space tools. They also presented some recent works in a small concert. Here are some photos of them during the event:

A cool review

Adam Stanovic was born in Leeds, now has residency at Sheffield. Here he is with Ténébrisme(IMED 18153) 1 showcasing very recent compositions 2015-17. He exhibits the now-commonplace concerns with transforming musical instruments, pieces of metal, audio travelogues and such like, but his feisty essays indicate he is trying to challenge the received wisdom of contemporary electro-acoustic music, expressing a certain frustration with over-used tropes in the genre. A dull-witted noise-lover like me can certainly dig his roary pieces, which have a lot more fire and chaos than we’re used to in the field; plenty of tidal waves of digital information surging and rebounding around imaginary spaces like titanic forces, sometimes with quite shocking dynamics, cut-offs, and wild timbral shifts. Ctrl CMetallurgic and Inam all have this rather threatening density to them, and Foundry Flux is as alarming a portrait of Sheffield’s industrial past as you’re ever likely to hear. Bonus points too for composing a homage piece to Beatriz Ferreyra, the Argentinian wild lady of electro-acoustic music.

Ed Pinsent, The Sound Projector, June 9, 2019