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Music from SEAMUS, vol. 30 continues the organization's series of recordings chronicling the work of its member composers. Featuring music by Christopher Biggs, Elizabeth Hoffman, Joo Won Park, Julie Herndon, Mei-Ling Lee, Jiayue Cecilia Wu, Kelley Sheehan, Heather Stebbins, and Lyn Goeringer, this recording provides excellent insight into vanguard practices in electronic and electro-acoustic music.

Christopher Biggs’ Monstress for piano and electronics was written for Keith Kirchoff who performs on this recording. Inspired by a comic book series, Biggs’ work pits the piano as protagonist against the live electronics and synthesized sound in a multi-layered, intertwined texture that is often antagonistic.

Elizabeth Hoffman’s clouds pattern refers both to the variations of clouds themselves as well as an expression pertaining to computer solutions. Hoffman uses extensive spatialization techniques to explore how to map sounds onto a three dimensional acoustic space.

In Joo Won Park’s Func Step Mode, he explores the sonic possibilities resulting from plugging a drum machine into a no-input mixer. The result is glitchy and energized, propelled by the gestural contours and propulsize rhythms the setup allows the performer.

Julie Herndon’s A Long Postlude is scored for voice and light bulbs, as a text is read that chronicles Alexander Graham Bell’s development of the photophone interspersed with Mormon prophecies about light. Herndon mixes static sounds with a harmonizer processing her voice to draw the listener through the cryptic narrative.

Mei-Ling Lee’s Giant Dipper memorializes the iconic roller coasters of yesteryear (in this case, sound samples from the eponymous coaster on the Santa Cruz boardwalk in California) mixed with samples of an eight year old girl. The work registers as a celebration of youth and unbridled joy, while the electronic treatment puts the listener inside of the amusement park experience.

Jiayue Cecilia Wu’s For Tashi is an homage to mothers who lose their children prematurely, and specifically to the composer’s own miscarried baby. Through Tibetan soundscapes, electronic sounds, and human voices, the work narrates the wrenching emotional journey associated with miscarriage.

Kelley Sheehan’s Talk Circus for two percussionists and electronics uses contact mics on percussion instruments that feed into a mixer which then becomes an independent source of electronic sounds. The result is an interconnected machine of sonic material, with each musician forming a cog in the wheel of the whole.

Heather Stebbins’ things that follow for percussion and electronics tracks the intensity of severe experiences and the subsequent lightness when they subside.

Lyn Goeringer’s waterside is a contemplative piece, meditating on change and transition. Watery textures suggest ebb and flow, a mirror on our conscious experience of unexpected times.

– Dan Lippel


released May 21, 2021

Produced by SEAMUS

Mastered by Scott L. Miller

Graphic design by Allison Wilder




New Focus Recordings New York, New York

New Focus Recordings is an artist led collective label featuring releases in contemporary music of many stripes, as well as new approaches to older repertoire. The label was founded by guitarist Daniel Lippel (who is the current director), composer engineer Ryan Streber, and composer Peter Gilbert in 2003-4, and features releases from many of new music's most active performers and composers. ... more

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