not art mixtape 2017

1 - Grant Cutler - Oil

2 - Ubu Boi - Smalt

3 - Benjamin Tassie - Tribe

4 - Oliver Carman - Piano Fragments

5 - Bridget Feral - Feed Me

6 - Chin Ting Chan - Rituals

7 - Mozrat - Bostonia

8 - Riley Nicholson - Go

9 - Giulio Colangelo - Organismo Aperto No. 1

10 - Matthew D. Gantt - New.Wav #1

11 - Gustavo A. Delgado - Tecnomorfosi I - VocalZ

12 - Martin D. Fowler - Juno2machina

12 - Grant Cutler - Disappearing


Artist: Grant Cutler
Track: Disappearing and Oil

www.grantcutler.com

Grant Cutler (b. 1983) is an American composer and multimedia artist living in Brooklyn, NY. Growing up in South Dakota, Cutler’s early experiences shaped an inclination to collect, experiment, and make from scratch—evident today in his sound and visual works, built from intricate sampling, layering, and distortion of recorded moments. Over the last decade, Cutler has composed work for award-winning stage performances and films, spanning the genres of modern-classical, experimental, and ambient. Cutler’s recent work explores the phenomena surrounding acts of recollection through experimental sound and kinetic visuals representing memory concurrently forming and dissolving.


Artist: Ubu Boi
Track: Smalt

http://www.notartrecords.com/008-ubu-boi-uktena-1/ https://soundcloud.com/ububoi

Ubu Boi is the project of composer and pianist Drew Spradlin. He received his M.M. in classical piano from Manhattan School of Music. Ubu Boi mixes conservative musical forms with modern day sonic language to create a familiar yet alienating aesthetic. His debut EP “Uktena” was released last year via Not Art Records.


Artist: Benjamin Tassie
Track: Tribe

http://benjamintassie.com/
https://twitter.com/benjamintassie

Benjamin Tassie is a London based composer of electronic and acoustic music. He has worked with a range of leading ensembles and soloists, including the Britten Sinfonia, Rarescale, Rambert Dance, Liam Byrne, Joby Burgess, and Juice Vocal. His music has been performed at venues including The Place, the National Portrait Gallery, Tate Modern, Wilton’s Music Hall, Wilderness Festival, The V&A, Moth Club, and Rockwood Music Hall NYC. He has been broadcast on Resonance FM and on BBC Radio 3.

Benjamin has received a number of awards, including winner of the Nonclassical #graphit graphic score competition, winner of Best Collaborative work in the 2015 Saboteur awards, finalist with the Rarescale 10th anniversary composition competition, and finalist with the Britten Sinfonia’s OPUS2014 competition. His opera, The Anatomy of Melancholy (commissioned by The Wellcome Trust and Arts Council England), was described as ‘an often dark yet heartfelt opera’ [wired magazine], with ‘a compelling score’ [everything-theatre], ‘✭✭✭✭✭’ [theatre bubble]. He was a British Music Collection New Voices 2015 composer, and was part of the Sound and Music Portfolio 2015 scheme.

Benjamin graduated with First Class Honours from the joint undergraduate-degree in music at King’s College London and the Royal Academy of Music, before completing post-graduate study at the Royal College of Music, where he achieved Distinction. Whilst at the Royal College of Music he was an RCM Scholar with support from the Angela Nankivell Award, the Ralph Vaughan William’s Trust, and the St. Marylebone Educational Foundation.

Recordings include Benjamin's debut EP, wurl, (supported by Sound and Music / British Music Collection), SCHWUH-EEET recorded by Rarescale (and published by Tetractys), and If I Lay on My Back I Saw Nothing But Naked Women (supported by the PRS Foundation / Bliss Trust).


Artist: Oliver Carman
Track: Piano Fragments

https://soundcloud.com/oliver-carman


Fragment - chip, fleck, flake, sliver, spark, ember, shard…

 This descriptive terminology inspired the shaping and the selection of sound material in this piece, which is derived from two short piano recordings.

Oliver is a lecturer in Music Technology at the University of Liverpool.He was awarded a PhD in electro-acoustic composition from the University of Manchester in 2011, where he was an active member of MANTIS (Manchester Theatre in Sound).
Oliver's primary output is acousmatic; music composed in the studio and performed in the concert hall through multiple loudspeakers. He also composes mixed music for live instruments and electroacoustic sound as well as having research interests in sound diffusion, the visual representation of electroacoustic music and the music of Francis Dhomont.
His work is regularly performed throughout the UK and internationally, and has also been recognised at several international competitions including; IMEB (Bourges) 2007/2008 International Electroacoustic Competition "pierre schaeffer' 2007 (2nd Prize), Diffusion Composition Competition 2010, Limerick (3rd Prize) Destellos Competition, Argentina 2012/2013/2014 (selection) and most recently 3rd Prize at The Engine Room Sonic Arts Competition.


Artist: Bridget Feral
Track: Feed Me

https://bridgetferal.bandcamp.com/
https://soundcloud.com/fferal


Bridget Feral is a sound artist working in Berlin. Patterns are broken, old instruments are mangled into new rhythms, and found sound is woven with digital shards into alien textures.


Track: Rituals
Composer: Chin Ting Chan

www.chintingchan.com

Rituals is inspired by various ritual processes of different cultures. Some rituals involve elaborate processes, while others are simply daily rituals inherited from the tradition. While most rituals are diversely different, they all engage a sequence of actions according to a prescribed order guided by a mythical belief. This piece takes inspirations and sonic elements reminiscent of the ritual processes and forms a sonic collage that alternates constantly between hyper-real and surreal soundscapes, and creates a multi-layered texture of timbral and rhythmic complexity. Some of the sound sources include air, wind chimes, metals, water, piano resonance and various drum patterns, processed almost exclusively with Cycling 74’s Max program.

The music of Chin Ting (Patrick) CHAN (b. 1986) stems from an interest in representing his impressions of the visual world with sonic images. It is often inspired by patterns and shapes he discovers in daily objects, as well as imaginary landscapes he sometimes encounters. These abstract concepts are projected to a music that is characterized by complex harmonic progressions within a multi-layered texture.

Chan has been a fellow and guest composer at the International Computer Music Conference, the International Rostrum of Composers, IRCAM’s ManiFeste, the ISCM World Music Days Festival, June in Buffalo, the mise-en music festival and the Wellesley Composers Conference. He has held residencies with the Charlotte Street Foundation and the Virginia Center for the Creative Arts, and has received commissions and grants from ArtsKC, the Hong Kong Composers' Guild and the Music Teachers National Association, as well as performances by Ensemble Signal, the Nouveau Classical Project and the S.E.M. Ensemble, in venues such as Staatstheater Darmstadt, the Seoul Arts Center and the Tongyeong Concert Hall, among many others. Awards and other recognition include those from the American Prize, ASCAP, Association for the Promotion of New Music, the Cortona Sessions for New Music, Foundation Destellos, Foundation for Modern Music, the Interdisciplinary Festival for Music and Sound Art - Shut Up and Listen!, the Lin Yao Ji Music Foundation of China, the MidAmerican Center for Contemporary Music, newEar, the New-Music Consortium, the Portland Chamber Music Festival, the RED NOTE New Music Festival, Semaine international de la musique électroacoustique, the Soli fan tutti Composition Prize and others.

Raised in Hong Kong, Chan is Assistant Professor of Music Composition at Ball State University. He previously held faculty positions at the University of Missouri–Kansas City and Kansas City Kansas Community College. He holds degrees from San José State University (B.M.), Bowling Green State University (M.M.) and the University of Missouri–Kansas City (D.M.A.). His primary teachers include Chen Yi, Zhou Long, James Mobberley, Paul Rudy, Marilyn Shrude and Brian Belet. His works are published with the ABLAZE Records, Darling’s Acoustical Delight, Melos Music, Music from SEAMUS, Navona Records/PARMA Recordings, the SCI Journal of Music Scores and Unfolding Music Publishing (ASCAP).



Artist: Riley Nicholson
Track: Go

www.RileyNicholson.com

MUNI and BART are a unique and sometimes harmonious intersection of San Francisco. The function of these trains is movement, with thousands of commuters dependent on its motion yet potentially numb to its sounds and people. "Go" represents the everyday hustle, drive, and rush using field recordings of MUNI, BART, and street noise to highlight it's soundscape and bringing poignancy to it's experience.

Biography: D. Riley Nicholson has composed for a wide range of ensembles, mediums, and performance venues including music for contemporary ballet, theater, orchestral music, chamber music, electroacoustic music, and vocal music. Riley feels comfortable writing for electric guitar one day and string orchestra the next; his music can be described as metaphorically rich, innovative, and modern, but never inaccessible or overly intellectual.

Fascinated and committed to working with artists outside of music as well as within, past collaborations include original music for SwitchBoard Music, Ballet Memphis's Cecily Khuner, Post:Ballet, Three Penny Theater, Cello Street Quartet, SFCM New Music ensemble, Balmoral Chamber Orchestra, Ensemble Roar, Hot Air Music Festival, San Francisco Conservatory of Music Percussion Ensemble, University of Memphis Percussion Ensemble, and many other talented artists and organizations.

Riley is the three time recipient of the San Francisco Conservatory of Music Professional Development grant, and is the recipient of the Horizons Foundation grant in support of his work One, for large string orchestra, which headlined Hot Air Music Festival on March 6th, 2016.

Riley has a M.M. in Composition from the San Francisco Conservatory of Music, a B.M. in percussion performance, and a B.A. in psychology from the University of Memphis. During his studies, Riley studied with David Garner, Mason Bates, Ryan Brown, Kamran Ince, and many other insightful teachers.

In addition to composing and performing, Riley is currently the Production Manager for the Center for New Music and the Company Manager for Post:Ballet.


Track: ORGANISMO APERTO No. 1
Artist: Giulio Colangelo

giuliocolangelo.eu
loxosconcept.com
 
::: vl.1Francesca Nigro
::: vl.2Giulio Colangelo
::: vla.  Adelaide Pizzi
::: vlc.  Vito Stano
::: e~   Giulio Colangelo
 
for string quartet & electronics
ex nihilø - ca. 5.20"

As something perfectly functional but extremely complex and ramified, as the unpredictable vital force of nature, ex nihilø starts "from nothingness" and then evolve independently, through a braided but very impetuous path, up to the saturation of the sourrounding space.
Bearer of a powerful in movement, caught as if in the act of feeding on the surrounding space, it is an "open organism" that can not be contained and branches out in different ways and directions, trying to wrap the whole.

Giulio Colangelo holds a MA degree cum laude in “Electronic Music Composition” at the Conservatory of Frosinone (Italy) under the supervision of the composer Alessandro Cipriani.
His artistic research uses parallel languages in order to create complex perceptive experiences. It is focused on instrumental experimentation and electroacoustic/acousmatic compositions, on electronic performances and sound installations, in the domain of the intermedia development.
His works have been performed and awarded in several international contests and he has recently worked at the "ZKM" on his sonic projects and exposed in the great exhibition "SoundArt" by P.Weibel. His music has been presented in the acclaimed "ICMC" (2012-13-14) and broadcasted on Radio France and Radio4. He has been one of the five nominees for the prestigious Gaudeamus Music Award 2016 (the Netherlands).


Artist: Matthew D. Gantt
Track: New.Wav #1

http://gantt.works

New.Wavs is a study of the overlapping manner in which contemporary digital culture is produced and consumed, often with the same technological means.
The development of this project will consist of identifying a 'definitive' set of tools used in the production of contemporary music, then pairing these tools with iconic examples of their use, delineating a type of auditory and stylistic corpus.
Once these sets of material are established, compositional processes can be devised wherein information from these examples (midi notes/CC, spectral content, amplitude, etc) may be mapped back onto the use of the tools themselves, mimicking the recursion that occurs when stylistic tropes made for consumption become available wholesale as building blocks for new cultural production.
This method of creating work with information extracted from the means of its own production hopes to explore the formal structures encoded in both the tools and tropes of digital creation and consumption.
Initial research for this project has focused on the Lex Luger sample pack, a free collection of drum samples and VSTs available online and geared towards the creation of 'trap music', a popular subset of hip hop exemplified by the work of Lex Luger, whose production style has been widely imitated since it first achieved mainstream success in 2010.
Initial studies for New.Wavs have taken iconic works by Lex Luger as a source of compositional data, using each piece as input material to be analyzed for structural form and content, then routing that analysis back onto a variety of production systems containing the Lex Luger sample set with no other intervention.
This process will result in the creation of a set of pieces lasting the same duration as their input sources, and represent an attempt to apply a Cage-ian embrace of indeterminacy to the context of commercial production, as well as an attempt to turn the gaze of contemporary consumption back on itself, removing the middleman and creating a metaphorical network of self-propagating digital culture. These concepts are intended to build on Kim Cascone's writings on the 'Aesthetics of Failure' by foregrounding previously unexamined details as content, as well as the work of Stefan Goldmann in 'Presets: Digital Shortcuts to Sound'.
Once completed, the final realization of New.Wavs will consist of a long-running suite of recorded works to be presented online, the precise number and length to be determined by the initial cultural input selected for analysis.
Specific commercial tools to be investigated for this project include a variety of DAW's, several production suites sold by Berlin's Native Instruments, Roland's confusingly-named 'futuristic' reissues
of classic hardware, and a variety of sample packs or 'producer kits' available online, among others.
Some techniques to be used as part of New.Wavs include the creative misuse of popular audio-to-midi tools, concatenative synthesis patches developed at IRCAM (CataRT), the Python script AudioGrep, as well as Ableton Live 9's ability to upload recordings directly to social media via SoundCloud.
These processes are intended not only as a technique with which to engage source material, but as a methodology for conceptualizing the manner in which the tropes embedded in these tools inform our engagement with the production, consumption and dissemination of digital cultural itself.

Matthew D. Gantt (b. 1987 Durham, NC) is a composer and conceptualist based in New York City. He studied composition at CUNY Brooklyn College under the direction of Morton Subotnick, history and theory with David Grubbs, and contemporary performance practice with Jason Eckardt.

Gantt’s compositional work focuses primarily on the creative use of live electronics, issues of embodiment and environment in digital performance, and the use of open form scores and systems. Areas of inquiry and research include the overlap of contemporary artistic production and consumption, artificial scarcity in the age of digital reproduction, and the recorded document as confluence of artifact and event.

While living in New York, Gantt has performed or presented work at a range of venues, including Roulette, Issue Project Room, Irondale Center, Silent Barn, the New Museum and the Stone, as well as internationally at the IRCAM Academy in Paris, France. While at CUNY, he was awarded the John Cage prize for experimental composition, the Nancy Hagar scholarship award for his text ‘Music in a Post-Digital Culture: Thoughts for the Twenty-First Century Composer’, and the Tow Graduate Stipend for International Research.

Matthew D. Gantt currently teaches at the Brooklyn College Center for Computer Music (BC-CCM), SMS High School through the Kaufman Center, and works as a studio assistant to Morton Subotnick and Joan La Barbara.


Artist: Gustavo A. Delgado
Track: Tecnomorfosi I - VocalZ

www.gustavodelgado.it

Gustavo Adolfo Delgado was born in Buenos Aires, Argentina in 1976. Resident in Rome. He is an electroacoustic and mixed music composer whose artistic production involves electroacoustic orchestration, spectral morphing in concomitance with sound synthesis spreaded on dynamically and articulated sound microstructures into polyphonic virtual spaces.

He has got a “Master Degree in Electronic Music” at the Conservatory of Music “Santa Cecilia” of Rome with the highest honors under tuition of M° Giorgio Nottoli and a “Degree in Electronic Music” at the University of Quilmes (Buenos Aires, Argentina) under tuition of Professors Pablo Di Liscia, Carmelo Saitta and María Teresa Luengo. He has studied also electroacoustic music composition with James Dashow at Rome and composition with Francisco Kröpfl at Buenos Aires.

He is the current professor of Electroacoustic Music at the Conservatory of Bolzano (Italy) and he collaborates as a beta tester with the Ina GRM (Groupe de Recherches Musicales) of Paris for the audio plugins suite "GRM Tools" testing.

He has taught "Electronic Music Composition”, "Computer Music", "Techniques and application of MIDI and Studio Recording", "Laboratory of live sound", "Laboratory of Recording and sound processing", "Artistic Production", "Music Business Research" and “Applied Music” at the Italian Conservatories “A. Vivaldi” of Alessandria, “O. Respighi” of Latina, “N. Sala” of Benevento and “N. Piccinni” of Bari.

From 2008 to 2011 he has been "Organizing Coordinator" of the International Electroacoustic Musica Festival "EMuFest" of the Conservatory of Music “Sta. Cecilia” of Rome. In 2011, he coordinated and organized the "Cecilia Elettrica" nsemble Tour in Argentina: concerts and masterclasses held in the provinces of Buenos Aires, Santa Fe and Córdoba at the Universities of Quilmes, Rosario, Santa Fe, Córdoba, Lanús , LIPM (Laboratory of Research and Musical Production) and the French Alliance of Buenos Aires. The Ensemble "Cecilia Elettrica 2011" was integrated by "Giorgio Nottoli" (composition and live electronics), "Luca Sanzò" (viola), "Enzo Filippetti" (saxophone) and "Gustavo Adolfo Delgado "(composition and live electronics). Also in 2011, Gustavo Adolfo Delgado founded as Vice-President the Cultural Association "CIMA", which promotes and organizes the international multimedia online festival "DI_STANZE".

He has shared concerts (sound direction and live electronics) with many artists including Claude Delangle, Salvatore Sciarrino, Ivo Nilsson, Nora Garcia, Guido Arbonelli, Massimo Munari, Laura Venditti and many others.

He has created and adapted a large number of patches of Max/MSP for live electronics and sound synthesis as the latest version of the published patch for the composition "Elettra" by composer Ivan Fedele ("Suvini Zerboni" Editors), the sound synthesis patch of the “Diad Systems” of composer James Dashow and many others for composers Guido Baggiani, Corrado Rojac and Antonio Scarlato.

He has got numerous training courses of specialization, master classes and seminars both in Argentina and in Italy, Monte Carlo and France, held by Jacques Diego Losa (Ina GRM) GRM Tools Suite; Annette Vande Gorne and Leonardo Cicala and Mario Mary: Acousmatic performing, with Mario Mary also he has studied Electroacoustic orchestration and IRCAM tools suite; Max Mathews: Radio Baton controller programming; John Chowning: FM synthesis; Gerald Bennett: Spatializaton algorithms in Csound; Juan Pampin: CLM programming; Klaus Schöning: Acoustic Arts, Riccardo Bianchini: CSound; Stefano Petrarca: C programming and Piero Schiavoni: Electroacoustic.

His works have been recently selected and performed at numerous international call for works and festivals including the International Music Festival “MuAIO 2017” (Colombia), “New York City Electroacoustic Music Festival 2017” - NYCEMF (USA), “SIME 2017” Electronic Music Week Festival/Contest (France), “Undae Radio #140 2017 call Madness and alienation” (Spain), “Mixtape 2017” call - Not art Records label - (USA), “Festival 5 Giornate 2017” (Milan), “Spring Concerts 2017” (University of Rome 2 Tor Vergata), "Banc d'Essai 2016" (Ina GRM, France), "influx - L'Espace du son 2016" (Belgium), "El laboratorio del espacio 2016 "(Spain), “Muslab 2016” (Mexico), "SPECTRA 2016 festival” (Malasya), “EFME 2016 festival” (Argentina), "Acusmoniae 2.1 2016"(Bari, Italy), “Diffrazioni 2016” (Florence), AumentAzioni 2016 (Salerno, Italy), “Artescienza 2016” (Rome), Festival internazionale “Bateau-Lavoir 2016” (Rieti, Italy); “musicaelettronica.it #3: call Voice (2016)” (Florence); Festival Monaco Electroacoustique ‘11, ‘13, ‘15 (Principality of Monaco), , “EMuFest” ‘07, ‘08, ‘09, ‘10, ‘11, ’13, ’14, ’15, ’16, “Spring Concerts ’12, ’15, ‘16” (University of Rome 2 Tor Vergata), SchauSchall Fest II and III 2013 (Graz, Austria), "+ 29 db May 2014" and "International Summer Academy of Music 2014" (Thessaloniki and Kavala, Greece), "Baki Contempo Festival" (Republic of Azerbaijan), "Brass & Jazz Line" (Latvia), "Confluencias" (Huelva, Spain), "SYNTHESE 2004" (Bourges. France), Ravelo’s Hall of the National Theatre (Domenican Republic), “Di_stanze Multimedia Festival”; another special concerts in Rome were made at “Migrante 2011 and 2012”, “Festa Europea della Musica”, “Museum Discoteca di Stato”, “Re-Volt”, “ContaminAzioni”, “Confédération Internationale de Musique Electroacoustique 2004 - UNESCO (Radio Rai 2)” “G.E.R.M.I”, “Sala dell’ex Mattatoio di Testaccio”, “SMAC Festival, Estate Romana", “Cinema Azzurro Scipioni”, “Concerti di primavera” Cultural Association “T. L. Da Victoria”, “Festival dell’Associazione Panharmonikon”; “Le forme del suono” (Latina, Italy), “Il suono dei soli, 101 Scelsi Cage” (Palermo), "Electric Shock Hazard" (Salerno), “Sala Puccini” (Conservatory of Milan), “Terra delle Risonanze/Orizzonte Mediterraneo” (Salerno, Italy), Incontro biennale di Musica Elettronica “La Terra Fertile” (Sassari, Italy), VI edizione del “Festival 5 giornate” (Milan), “Festival di Cinema di Pesaro”, “Domus Danae” (Ardea, Italy), “Piccole Serenate Notturne” (Viterbo, Italy), “Art Cafè Combo” (Perugia, Italy), “Serata finale della rassegna Premio Cantieri Opera Prima” Festival di Musica Antica, Moderna e Contemporanea “Caere Musica” (Cerveteri). In Buenos Aires, Argentina: International Festival “La semana de la musica electroacústica”, “La Semana de la Música Contemporánea”, “Parátaxis”, “Elektronica Viva! Festival de músicas acusmáticas y mixtas”, LIPM (Laboratory of Reserarch and Musical Production), French Alliance, University of Quilmes, Catholic University (Auditorium Alberto Ginastera), Conservatory of Music "Julián Aguirre”, Abasto Theater, F.J. Klemm Foundation, E.A.D (School of Arts and Dramaturgy), University and Conservatory of Córdoba, University of Rosario and Santa Fe.


The composition presents an eclectic dialectic between sounds achieved from fragmentation and transformation of “New York” word sung by Frank Sinatra along with numerous sound objects made from only five sampled sounds into a Parisian hotel room during my stay at Ina GRM (Groupe des Recherches Musicales). This short piece develops the argument of “transformation”, a such current issue of our contemporary societies where technologies are more and more present everywhere. The hypnotic character of the piece can be interpreted across several meanings. For me, the voice represents an apparent time immobility or frozen state along with some kind of energy that looks violently a way of expanding and to vanishing towards new recipients. The voice transforms, morphs, it does not belong any more to the singer, it becomes raw material. It is a way of escaping from the alienation that programmatic life bears towards the madness of non-belonging anymore to any place.


Artist: Martin D. Fowler
Track: Juno2machina

http://www.martindfowler.com/

Based out of Brooklyn, Martin composes and produces music for aural and visual media. Participative projects include Soundfly, This American Life, Limetown, The Spark, and music for various artists and commercial music houses.

Martin records and performs with the PLS.trio, Lora Faye, Josh Flagg, Beautiful Small Machines, Don Dilego, Emel Mathlouthi, and other NYC-based artists.

Martin produces original electro and house music and remixes as MDFX, and trap/jungle/bass music and remixes as WNNR.

 

 

©Not Art Records 2017