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sit back and sample the really cool electronic, soundscape, and instrumental music available from earsay. Below are tracks that appear on our commercial releases, as well as tracks that are exclusively available for your listening pleasure on this page.
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STRINGendo from
Without Fear
6 weeks on the RPM playlist between 3rd and 15th place at CFRC 101.9 FM, Radio Queen's University, (Kingston, Ontario, CANADA). Award-winner and it sounds great too. All sounds are manipulated violin sounds...but sometimes you would never know it!
excerpts from Harangue II
...soretes de punta
[28.8]
Damián Keller
In Argentina, when it is raining
hard we say "están cayendo soretes de punta." This
expression can be translated in many ways. The falling
things can be cats and dogs, shoelaces, buckets of knives.
Armed with two sounds and my tools for environmental sound
synthesis, I went out to search for "soretes de
punta."
MU
[28.8]
[MP3]
(download)
Giorgio Magnanensi
/ Andrew Czink
a work for piano and live processed
audio. Performed live in concert with a gorgeous processed
video by David Murphy & Hans Samuelson, MU explodes both
the visual and aural experience of the
piano.
Web Exclusive - GioCzink: The Jam Session
GioCzink
The Jam Session
Giorgio Magnanensi / Andrew
Czink
an unbelievable improv on piano and live
processed audio. Czink and Magnanensi let loose after the MU
recording session.
excerpt from Escape Velocity
deleriously vital solo piano. Czink wrings orchestras from his instrument.
excerpts from Harangue I
shadeless,
peopled
Andrew Czink
A shadeless road peopled with ghosts. The feeling of it; that strangeness when everything is distorted from the heat. Ghosts sing an ancient Greek hymn to the sun. Voices. Metal. Soundscrape.
Astonishing
Sense of Being Taken Over by Something Far
Greater Than Me is a work based structurally and
textually on the process of giving birth. The title is taken
from a description by my sister Margaret Bendall of giving
birth to one of her sons. Her voice opens and closes the
work, and is heard, highly processed, at specific structural
points. The tape part also contains granulated violin,
synthesized and natural sounds. The work is based on moments
of contraction and extension, mirrored by the violinist who
alternates playing with prayer.
Nancy DiNovo, Violinist A former member
of the St. Louis, Toronto and Boston Symphony Orchestras,
Nancy DiNovo has served as concertmaster and solo violinist
of the Canadian Chamber Ensemble, the Te Deum Ensemble, and
was founding concertmaster of the Tafelmusik Baroque
Orchestra. She has premiered numerous works written
expressly for her. An avid chamber musician she performs
recitals on both modern and period instruments. She is
currently a principal player in both the CBC Vancouver and
Vancouver Opera Orchestras, and is on the faculty of the
University of British Columbia.
Susan Frykberg [28.8]
The basic materials for this piece are the sounds of Lions Gate Bridge. A continuum of natural and artificial sounds was obtained through real-time granular synthesis, phase vocoding and spectral mutation. The slow transformations and sudden contrasts of the sound material suggest images which always move forward in time and space. The piece does not literally reproduce the environmental sounds but evokes sensations suggested by the bridge’s soundscape.
Simultaneity, policentricity and overlapping points of view are the characteristic elements of this work. The sound texture is not merely the addition or subtraction of a number of isolated events, but is a more complex combination of sound events that works in a strategy of an imaginary scenography.
Copper Flying [opening]
[28.8]
[MP3]
John Oliver
is a work from my Volatility Project which combines my love of guitar and electronic music in a volatile performance situation. The work is a vibrant improvisation between myself, playing spinning virtual metal on MIDI guitar (among other sounds), and an attentive MacIntosh computer (bell sounds, etc.). I take a painterly approach, blending carefully-crafted sounds to create rich and ever-changing textures.
Talking
Rain
Hildegard
Westerkamp
Rainsounds from the westcoast of British
Columbia, Canada are the basic compositional materials for
Talking Rain. Through them I speak to you about this place.
The raincoast. A lush and green place. Made that way by
rain. Nourished by rain, life-giving rain. The ear travels
into the sonic formations of rain, into the insides of that
place of nourishment as well as outside to the watery,
liquid language of animals, forests and human
habitations.
Talking Rain was commissioned by CBC Radio
for Westcoast Performance. It was realized in my studio,
Inside the Soundscape. Thanks to Norbert Ruebsaat for
providing his recordings of ravens, eagles and frogs from
Haida Gwaii (Queen Charlotte Islands); the World Soundscape
Project’s environmental tape collection at Simon Fraser
University; and David Grierson. Special thanks to John
Siddall, producer of Westcoast Performance for challenging
me to create a radio piece with sounds that must be the most
difficult sounds to broadcast! Talking Rain is dedicated to
my friend and partner Peter Grant.
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