Hear the 2024 Recording of “Leviathan of the Ancient Deep” (Mvt 1) Now!

You can hear the finished recording of movement 1 from “Leviathan of the Ancient Deep” now on SoundCloud!

I’m already working on finishing the last 2 movements; I’ll post those on SoundCloud as they’re finished, and then I’ll release the whole work together on streaming when the 3-movement recording is complete. 

I am just so excited that I had the opportunity to re-record this massive work with better equipment and better knowledge! It’s already sounding so so good! :)

꧁★꧂

MAY there be jazz, MAY there be harmony, MAY you be there this May JAPAN! Last show 🇯🇵

2024年日本で今の所最後のソロ活動です🇯🇵

是非とも心と体を一つに！！5月(May)にジャズと調和を

サライブ、最後一緒に盛り上げて下さいますか？💃🏻

Sarah Àlainn Quartet

〜MAY there be Jazz! 〜

LIVE at billboard

🔘11 Tokyo @billboardlive_tokyo

🔘18 Osaka @billboardlive_osaka

🔘24 Yokohama @billboardlive_yokohama

〜MAY there be Harmony! 〜

🔘 19 Nagoya @min_on_official

Silly and Lovestruck in any form.

face the wall (x)

Check it out! Link under the cut!

Listen to the iconic Doctor Who theme tune as you've never heard it before by the hugely talented Mia Asano Music! 🤟 🎶

The Devil Went Down to Georgia - Mia x Ally

Idea:

Raine Whispers is introduced by Luz to the Electric Violin

Like one of these!

Armbruster — Can I Sit Here (Dear Life)

Violinist Conor Armbruster has shifted gears on Can I Sit Here. His previous release, Masses, reveled in the generous acoustics of an acoustic violin in a church sanctuary. On his latest for Dear Life, Can I Sit Here, the recording of an electric violin is close-miked and in mono, with many of the tracks using lots of distortion. Some electric violins have a number of extra strings that allow the performer to access a wider registral compass. That is certainly the case here. There is more use of drones too, as well as sounds inspired by heavy post-rock and even metal.

The leadoff track, “I’m Really Trying to Catch Up With You Soon,” bridges the gap between Masses and Can I Sit Here, with repetitions of organ-like sonorities wafting in the high register. Eventually, a thunderous, sustained bass register line enters as do treble register rock solos. The ostinato persists, creating a piece that, if only it had drums, would sound every bit like a piece by Godspeed You! Black Emperor. Indeed, in places one wishes that percussion, even electronic percussion, was incorporated.

“Playground” has a distorted repeating chord progression that registrally unfolds into a bold, bracing textural environment. It is nearly two thirds of the way through the piece that a rollicking solo is added. Shrieking “bird calls” arrive, as does dynamic intensity, the conclusion abandoning the chord progression for a sustained dissonant high note. In “Playground,” Mogwai seems like a touchstone. In fact, one could readily hear Armbruster touring in support of some of the aforementioned ensembles, heating up the crowd with searing strings.

“No Other News” features a constantly pulsating high note juxtaposed with bass strings in a wayward melody. The piece breaks into triplets against dovetailing melodies. Partway through, the ostinato from “Playground” makes a brief appearance, followed by bent bass notes and glissandos against the upper drone. It concludes with another repeated note in the low register and a swath of chords. “Lament” remains a chordal ostinato for most of its duration, until it goes sideways in a downward bend. “Thank You for Putting These Feelings Into Words” follows closely upon, with repeated spacy riffs providing the mood of a sci-fi soundtrack. Perhaps the catchiest among selections is “Tell the Crowd,” with a loping repeating bass-line and a solo that combines Americana and experimental music. “Can’t Wait To Be Chillin’” closes the album with a seven-minute work in which the violinist takes his time, with another bass ostinato and an alto register solo dovetailing alongside it. It is only near the end of the piece that Armbruster moves from a clean sound to distorted chordal slides. The close is a fragmented version of the ostinato, gradually fading.

The technical underpinning of Armbruster’s music is impressively assured and the sounds he explores are consistently interesting. Can I Sit Here makes me eager to hear what surprises he has up his sleeve for the future.

Christian Carey

My last-minute metal solo rendition of “This is Halloween” by Danny Elfman :) Because it’s not Halloween until you’re going around singing this song all day 😈

good morning music

[yt]

KING KONG Jean-Luc Ponty plays the music of Frank Zappa, 70s

Hi everyone!

Back in April, I was talking about my undergraduate senior recital and encouraging people to watch the live stream. While the livestream sadly had some technical difficulties, I was provided with a wonderful video of almost the entire recital afterwards.

If you were unable to watch the livestream but are still interested in watching the performance, please do go and listen! (It is about an hour though, so make sure you have time, haha!)