Last September 2017 I performed at the Irish Sound in Science Technology and the Arts Conference (ISSTA.ie) in Dundalk, Ireland (video by Daryl Feehely). The performance makes use of a custom Max patch controlled by an iPad, a Novation Circuit, a KeyStep, and a Minifooger Delay pedal. It occurred to me that it might be interesting to share the roots and evolution of this piece, so here goes. Continue reading
During last month’s Sound / Simulacra on March 28, 2018, we featured artist Holly Hansen. Among many other things Holly hosts t.e.e. (Tuesday Early Evenings), an excellent weekly concert series at the 331 Club in Northeast Minneapolis. It was a pleasure performing with Holly Hansen and Cody McKinney during Sound / Simulacra. Here’s a bit more about Holly’s world, and afterward a couple of recordings from the show that you are likely to enjoy! Holly Hansen (Electronics), John C.S. Keston (Piano, Rhodes, Synthesizers), Cody McKinney (Bass, Voice, Electronics). Recorded by Dave Kunath.
After letting go of her rock band Zoo Animal in 2015, Holly Hansen has been floating around in the world between song and sound. This has lead her to create pieces using guitar pedals, samplers, sequencers and occasionally an instrument or 2. This 2017 recipient of the MECA (MN Emerging Composer Award) has self categorized her music as “weirdo electronic music for the beginning or discerning pallet.”
On Wednesday April 25th, 2018, 8:30pm at Jazz Central Studios Sound / Simulacra will commence featuring Mankwe Ndosi. I have had the pleasure of playing music with Mankwe on several occasions, but I am particularly excited to hear what happens in the context of improvised experimental music. During the second set Cody McKinney and myself will join Mankwe as a trio.
Mankwe Ndosi is a Twin Cities-based performer and composer who uses an expanded vocabulary of singing to express emotion, story and spirit. She works with artists in all media, and living beings of all kinds. She performs nationally and internationally, and has appeared with Nicole Mitchell, The Give Get Sistet, Mike Ladd, Sharon Bridgforth, Laurie Carlos, George Lewis, Medium Zach, I-Self Devine, Ananya Dance Theatre, Atmosphere, and Douglas Ewart – stalwart of Chicago’s Association for the Advancement of Creative Music. Ndosi is a Wild Plant Woman and a Culture Worker who uses creative practice to nurture human connections to others, our ancestors, and the earth. –Ananya Dance Theatre
I am excited to announce that I was commissioned by Minnesota Public Radio to compose music with Cody McKinney for a StoryCorps event at the Fitzgerald Theater on Thursday, April 5th at 7:00pm. Tickets are free and can be reserved on the event page.
As we have learned in the last couple of weeks, composing music to be performed live as accompaniment for recorded stories poses a number of interesting challenges that are significantly different from composing music for film, animation, games, and even podcasts. First of all it is important to stay out of the way. The compositions are short and simple vignettes that may simply emphasize a point or enhance an emotional state. More than that might obscure the story or twist its message. Secondly, fewer is better than more parts. Often one instrument is enough, but more than two and you might be starting to interfere with the dialogue. The parts generally need space and atmosphere rather than density and complexity.
Thirdly, sound design is music. Yeah I said it. I believe it shouldn’t be separated from the music in this instance. Treating the sound design as an instrumental layer in the compositions has been a very good way to approach this task. Giving the sound design meter, dynamics, and rests allows it to fit well within the piece. Rests and dynamics might seem obvious, but what about meter? I don’t mean meter in the sense of literal tempo and time signature, but instead a sense of pacing so that the sound design elements enter and exit with purpose.
Fourth, but not last, including an element of theater is a valuable approach. Theatrics in music definitely gets me out of my comfort zone. Generally I am the last to agree to anything that resembles theater. However, because the stories are not being delivered by a performer, it’s helpful for the audience see what the musical performers are doing to illustrate the depth of the narratives. To that end we will be providing “tells” for many of the sound design elements, and performing most of the parts on instruments and noise making devices.
On March 22nd, 2017 Sound / Simulacra featured Leah Ottman aka LOTT. These recordings were captured by Dave Kunath during the second set and add John C.S. Keston on Rhodes / electronics and Cody McKinney on bass / electronics.
The core inspiration for LOTT’s compositions is the Romantic Period of classical music. The chordal structures, intervals, and melodies heard throughout her songs are reminiscent of those used by Antonin Dvorak, Alexander Borodin, Pyotr Ilyich Tchaikovsky, French Impressionist composer, Maurice Ravel, and then condensed into pop songs. She explores the range on her violin by utilizing a looping pedal and similar techniques employed by looping violinist pioneers, Andrew Bird, Kishi Bashi, and Owen Pallet.
LOTT has been likened to a modern day torch singer of indie music – both in her lyrical themes and vocal styling. She has been greatly influenced by Patsy Cline’s catalogue of songs about unrequited love and heartbreak.
LOTT was awarded “Best Vocalist” in 2016 and “Best Acoustic Performer” in City Pages Best Of the Twin Cities 2015.
“…With a looping pedal hooked up to her instrument, Ottman layers intricate melodies that combine classical beauty with an adventurous ear for contemporary experimentation not unlike Andrew Bird. Her voice, loaded with attitude and a penchant for flowing leaps, sweetens the deal…”