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New digital EP: Simulated Music – postscript

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i’ve released today a new EP of electronic music, titled Simulated Music – postscript. As that name suggests, the EP contains material related to my album Simulated Music, released a few months ago. Here’s an excerpt from the blurb:

Simulated Music, released in June 2011, was a cycle of music created at speed. As i wrote at the time, “critical decisions … were made with a minimum of deliberation. Once they were decided, i worked quickly, not concerning myself much with minutiæ, thinking instead about the broader, gestural shape of the music as a whole”. Nonetheless, the process that led to each ‘Simulation’, while relatively brief, contained a considerable amount of experimentation, as it was worked into its final form. On several occasions, i produced more than one version of a piece, uncertain of which i preferred; only when finally assembling Simulated Music did it become clear which versions of the pieces should be used. This EP contains nearly all of the alternate versions.

As with my earlier EPs, Simulated Music – postscript is only available as a free digital download, via my Bandcamp site.

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Fermata

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For the next two weeks i am away on holiday, so the remaining Proms premières will be discussed when i return.

New CD: Simulated Music – out today!

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Simulated Music is my new CD, released today, Sunday 12 June 2011.

The piece marks something of a departure from my previous electronic music. In Simulated Music, i have allowed the sound materials much more freedom to ‘do their own thing’, leaving them to unfold with minimal intervention. Both in duration and content, the nine ‘Simulations’ heard on the album are a diverse collection, encompassing large-scale, thundering noisescapes and soft, intimate whispers, wide clusters and narrow drones, piercing high pitches and powerful deep bass surges. Ever shifting and transforming, they are together suggestive of the worlds of noise, drone and ambient, yet stand apart from them all, occupying an abstract sonic space that is strange yet beguiling.

Simulated Music is dedicated to the memory of the great Roland Kayn, who died in January of this year.

The album is a limited edition of 50 numbered copies. For more details, to hear excerpts and to order a copy, go here.

There’s also a brief article about Simulated Music on Tim Rutherford-Johnson’s contemporary music blog The Rambler, here.

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New Dead Pilots piano mix

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Dan Gregory, who runs the splendid label Dead Pilot Records, has been kind enough to include my little piano piece In Paradisum on his latest online mix. While i don’t know most of the other names included in the mix, it’s nice to be in the company of Daniel W J McKenzie, better known by his pseudonym, Ekca Liena.

“Piano Series #3” can be streamed via MixCloud, here

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New digital release: at the magical hour when is becomes if / desert-tide

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The sonic poles of noise and pitched material are heard in delicate vein on my own new digital EP, which presents two works composed in June 2010. The shorter of the two, desert-tide, takes a gentle journey through a small, noise-based landscape. By contrast, at the magical hour when is becomes if focuses entirely on pitches, juxtaposing them in clouds and clusters ever in flux, drifting, dissipating and coalescing within a relatively narrow sonic space.

The EP is released at midnight on 2 October 2010, available only as a free digital download, through my own label Interrobang. It can be downloaded in a wide variety of formats from my Bandcamp site, here. Included with the download is a high-resolution PDF digital booklet, as well as a special offer to purchase both my CD releases at two for the price of one – an offer not to be missed!

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Fermata

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Two weeks’ holiday are beckoning, so there’ll be no further posts until i return. The Proms premières will all be recorded in my absence (tonight’s concert is being recorded as i write these words), so expect a series of posts catching up in late August.

Meanwhile, as ever, enjoy the silence.

New digital release: the Ceiling stared at me but i beheld only the Stars

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Out today is my new release, a 32-minute electronic work, the Ceiling stared at me but i beheld only the Stars. The piece takes as its starting point the intricate stonework found on the ceiling of the Quire in Tewkesbury Abbey. The central idea explored in the work is encapsulated in this quotation from George Herbert’s The Elixer:

A man that looks on glasse,
On it may stay his eye;
Or if he pleaseth, through it passe,
And then the heav’n espie.

More specifically, the piece is concerned with notions of imposed restriction (the ‘ceiling’ of the title), with the concomitant spiritual reaction to—and transcendence beyond—such blind barriers. This is heard most prominently in the work’s fundamental conflict between two types of material, one noise-based, the other pitched and bell-like.

the Ceiling stared at me but i beheld only the Stars is dedicated to Michael Perry Goodman, perhaps better known to readers of 5:4 as Implex Grace.

This release is only available in the form of a free digital download, in a variety of audio formats; to download, please visit simoncummings.bandcamp.com. Due to the extreme frequency range used in the piece, lossless (FLAC/Apple Lossless) is VERY strongly recommended. Download includes high-resolution artwork, PDF digital booklet and selection of desktop wallpapers.

An ultra-high resolution version will be available soon.

Copies of my first two CDs, Triptych, May/July 2009 and The Stuff of Memories are still available; for information, to hear excerpts and to order a copy, please visit www.simoncummings.com/shop. Both of these can also now be purchased as digital downloads from the Bandcamp site.

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