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  <title>New from Bedroom Community</title>
  <link>https://bedroomcommunity.greedbag.com/</link>
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      <title>Francesco Fabris : DISPLACES - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/displaces-0</link>      <description>
                DISPLACES represents Fabris&apos; most personal musical journey to date, inspired by the concept of hyperobjects and cartographic practices. The album sculpts a high-dimensional phased time-space composed of concrete materials and digital archetypes in a state of constant displacement. It delves into the symbolic and philosophical realms of mapping as one of the greatest sense-making mechanisms for life, in dialogue with object-oriented environments, superimposition and non-locality applied to cosmic      </description>
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      <content:encoded><![CDATA[DISPLACES represents Fabris' most personal musical journey to date, inspired by the concept of hyperobjects and cartographic practices. The album sculpts a high-dimensional phased time-space composed of concrete materials and digital archetypes in a state of constant displacement. It delves into the symbolic and philosophical realms of mapping as one of the greatest sense-making mechanisms for life, in dialogue with object-oriented environments, superimposition and non-locality applied to cosmic, temporal, and emotional memory.

The sonic ecosystem expands on the image of navigating a path through a set of places, from the microcosm of quanta to the macro force of dark matter, from underwater depths to overland terrains, encapsulating the cyclical flow between birth and death, both in ecological and anthropological sense. The intersection of these shifting states is explored through the extensive processing of the langspil, Iceland's only traditional instrument, intertwined with manipulated field recordings of biophonies and geophonies captured across Icelandic and Venetian territories. These recordings form the backdrop for a meditative process that relocate familiar objects into unfamiliar realms, reflecting on the transformative power of self-reflection while encapsulating the fragmentation and entanglement found in nature and the human state. The record plunges the listener into a disconcerting and physical soundscape, as a “ghostly spectrality that comes in and out of phase with normalized human spacetime,” evoking sensations of suffocation and release as each layer continuously unfolds the palimpsest of the enclosed labyrinth. 
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      <title>Francesco Fabris : DISPLACES - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/displaces-0</link>      <description>
                DISPLACES represents Fabris&apos; most personal musical journey to date, inspired by the concept of hyperobjects and cartographic practices. The album sculpts a high-dimensional phased time-space composed of concrete materials and digital archetypes in a state of constant displacement. It delves into the symbolic and philosophical realms of mapping as one of the greatest sense-making mechanisms for life, in dialogue with object-oriented environments, superimposition and non-locality applied to cosmic      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[DISPLACES represents Fabris' most personal musical journey to date, inspired by the concept of hyperobjects and cartographic practices. The album sculpts a high-dimensional phased time-space composed of concrete materials and digital archetypes in a state of constant displacement. It delves into the symbolic and philosophical realms of mapping as one of the greatest sense-making mechanisms for life, in dialogue with object-oriented environments, superimposition and non-locality applied to cosmic, temporal, and emotional memory.

The sonic ecosystem expands on the image of navigating a path through a set of places, from the microcosm of quanta to the macro force of dark matter, from underwater depths to overland terrains, encapsulating the cyclical flow between birth and death, both in ecological and anthropological sense. The intersection of these shifting states is explored through the extensive processing of the langspil, Iceland's only traditional instrument, intertwined with manipulated field recordings of biophonies and geophonies captured across Icelandic and Venetian territories. These recordings form the backdrop for a meditative process that relocate familiar objects into unfamiliar realms, reflecting on the transformative power of self-reflection while encapsulating the fragmentation and entanglement found in nature and the human state. The record plunges the listener into a disconcerting and physical soundscape, as a “ghostly spectrality that comes in and out of phase with normalized human spacetime,” evoking sensations of suffocation and release as each layer continuously unfolds the palimpsest of the enclosed labyrinth. 
]]></content:encoded>

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                  <g:adult>no</g:adult>
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      <title>Isabelle Lewis : Greetings - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/greetings-5</link>      <description>
                Who is Isabelle Lewis, anyway?


What kind of music does she make? Is she an opera singer? Does she write pop songs? Does she compose ethereal ambient soundscapes? Does she play chamber music on the violin? Is she producing dark, electronic beats?


Well… yes. But Isabelle Lewis is not so much a person as a project. Isabelle’s debut album, Greetings, credits a trio of composer–performers at its heart: producer Valgeir Sigurðsson, vocalist Benjamin Abel Meirhaeghe, and violinist Elisabeth K      </description>
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      <content:encoded><![CDATA[Who is Isabelle Lewis, anyway?


What kind of music does she make? Is she an opera singer? Does she write pop songs? Does she compose ethereal ambient soundscapes? Does she play chamber music on the violin? Is she producing dark, electronic beats?


Well… yes. But Isabelle Lewis is not so much a person as a project. Isabelle’s debut album, Greetings, credits a trio of composer–performers at its heart: producer Valgeir Sigurðsson, vocalist Benjamin Abel Meirhaeghe, and violinist Elisabeth Klinck. The sound of the elusive Isabelle Lewis is heard most clearly in the push and pull between them, the three-way tension that gives the album its musical and emotional drive.


Each of the three brings more to the collaboration than those epithets might imply. Elisabeth’s solo performance practice incorporates composition, improvisation, live electronics, and a close command of bowing and fingering techniques that make her fiddle sing, whisper or whistle as required. Benjamin is a self-taught countertenor—keening, crooning, and swelling to a voluptuous sensuality—but also an interdisciplinary stage director and performer. Well known for his work as a producer and studio collaborator, and as a composer of scores for film and stage, Valgeir’s solo discography interweaves meticulously crafted electronics, drones, noise, and other digital elements with acoustic instruments and vocals recorded with naked, unflinching clarity.


But the extravagant theatricality Benjamin brings to the aptly titled “Drama”—also featuring a heroic violin solo from Elisabeth—grapples against the thudding bass of the implacable digital backdrop. On “Mother, Shelter Me” Valgeir’s austere and detailed production throws the hushed violin and vocals into stark relief. The result is an exquisitely uncanny juxtaposition of past and present, human and mechanical, like a Rococo treasure viewed under cold fluorescent lights, or an 18th-century automaton slowly opening its clockwork eyes.


Even the lyrics seem somehow out of time. On “O Solitude,” Benjamin goes so far as to quote an entire song by the first great English opera composer, Henry Purcell, verbatim. No stranger to Purcell’s music, which has made its way into Benjamin’s theatrical productions as well, here Isabelle Lewis removes Purcell’s melodies and harmonies and sets the text, Katherine Phillips’s 17th century translation of a poem by Antoine Girard de Saint-Amant, to new music whose heightened, archaic character nevertheless seems haunted by Baroque ghosts.


Throughout the album, the outsized emotions and timeless archetypes of Benjamin’s lyrics feel like relics from some half-forgotten past—from the neatly rhymed couplets of “Fisherman,” a seemingly straightforward (but still somewhat askew) character study, to the abstraction of “Moonshell,” whose words seem like the fragments of some ancient, lost lament.
It is just another of many ways in which the Isabelle Lewis carefully distorts the listener’s notions of time. On a more micro level, time can stop for a moment of weightless, drifting ambience, and then plunge forward as the cloud of harmonies suddenly lock into tempo with the drop of the bass or the change of a chord. Or else that weightless moment is allowed to be, as in the aptly named prologue and epilogue to these Greetings (“Voicemail”/“…and farewell”), or in the interstitial tracks that bind the album together, connecting its dramatic peaks with expanses of meditative stasis.


The album as a whole is elegantly shaped, swelling from an intimate, interpersonal statement into something deeper and more spacious. The first half of the album leans slightly towards self-contained pop songcraft and ticking beats, while side B jumps off from “O Solitude” into the almost symphonic grandeur of songs like “Moonshell” or the instrumental “Not the water, air, or the dirt.”


But as it progresses, the contrasts only grow more sublime: antique and postmodern, human and machinelike. The ominous weight of the droning sub-bass and trombone (guest player Helgi Hrafn Jónsson) only makes the interplay between vocals and violins (guest player Daniel Pioro joining Elisabeth) seem more delicate and vulnerable. The ethereal string tremolos of “Moonshell” seem to pull against the heavy, shuddering electronics and layers of crooning vocals.


And that, in short, is where you will find Isabelle Lewis. Like an ancient stone archway, or a delicate house of cards, the architecture of Greetings is held together by the tension between opposing forces. Not just in Elisabeth’s playing, Benjamin’s singing, or Valgeir’s arrangements and production but in the conflict and contrast that generates the synergy between them.


Oh—Isabelle says hi, by the way. She’s looking forward to meeting you. 
]]></content:encoded>

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                  <g:adult>no</g:adult>
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      <title>Manchester Collective : NEON (Transparent w/Neon Orange Blob vinyl) - 12&quot; Vinyl Album (Transparent w/Neon Orange Blob vinyl)</title>
      <link>https://bedroomcommunity.greedbag.com/buy/neon-171</link>      <description>
                NEON, the fourth studio release from Manchester Collective, contains a paradox at its heart. The album is unambiguously about the night, about dark city streets, evoking glass, concrete and slow, incessant rain. However, it is also by some margin the brightest, breeziest and most optimistic record by the group. Here, the seductive nocturnal rhythms of Hannah Peel and Steve Reich sit alongside music of a different sort – unsettling, introspective works by Lyra Pramuk and Julius Eastman.

Writin      </description>
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      <content:encoded><![CDATA[NEON, the fourth studio release from Manchester Collective, contains a paradox at its heart. The album is unambiguously about the night, about dark city streets, evoking glass, concrete and slow, incessant rain. However, it is also by some margin the brightest, breeziest and most optimistic record by the group. Here, the seductive nocturnal rhythms of Hannah Peel and Steve Reich sit alongside music of a different sort – unsettling, introspective works by Lyra Pramuk and Julius Eastman.

Writing about her titular work, Peel notes that “Neon itself is opulence and decadence; bustling activity and loneliness”. This gets to the heart of the matter.

Electronic sounds and field recordings run through the record. In the titular ‘Neon’, Peel uses samples from Shinjuku Station in Tokyo to evoke teeming musical scenes full of life. Her joyful music is in many ways a reflection of Steve Reich’s Pulitzer Prize winning Double Sextet, the work that closes the album. The Double Sextet sees six members of the Collective performing against recordings of themselves in a virtuosic race to the finish.

Along the way, producer Lyra Pramuk makes her composing debut with ‘Quanta’, music inspired by Carlo Rovelli’s quantum physics headscratcher ‘The Order of Time’. ‘Quanta’ opens with the sound of a huge grandfather clock, at first keeping regular time, and then slowly dancing to a more flexible meter, waxing and waning, stuttering, and finally, stopping. “There is no universal time,” says Pramuk. “Quanta explores the notion that each of us has an individual sense of how time traces through our lives.”

‘Joy Boy’ by Julius Eastman is similarly obsessed with time. In the preface to the work, Eastman instructs the performers to “create ticker tape music”. This is time before the digital revolution – spools of tape, indented and pierced, transmitting messages across distance. 
]]></content:encoded>

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                  <g:adult>no</g:adult>
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      <title>Sam Slater : I do not wish to be known as a Vandal (Gold (Galaxy Splatter) vinyl) - 12&quot; Vinyl Album (Gold (Galaxy Splatter) vinyl)</title>
      <link>https://bedroomcommunity.greedbag.com/buy/i-do-not-wish-to-be-known-as-a-v-0</link>      <description>
                When it came to the recording of ‘I Do Not Wish To Be Known As A Vandal’, Slater called on a number of creative forces. Recorded remotely, each musician would send a sound, some words, some creative parameters, and Slater would respond in turn. Hildur Guðnadóttir provided distinct Doro phone sounds, Yair Glotman played thunderous double-bass, and Hilary Jeffrey and Sam Dunscombe laid down woodwind and microtonal brass. In addition, Icelandic singer-songwriter JFDR delivered her intimate vocals a      </description>
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      <content:encoded><![CDATA[When it came to the recording of ‘I Do Not Wish To Be Known As A Vandal’, Slater called on a number of creative forces. Recorded remotely, each musician would send a sound, some words, some creative parameters, and Slater would respond in turn. Hildur Guðnadóttir provided distinct Doro phone sounds, Yair Glotman played thunderous double-bass, and Hilary Jeffrey and Sam Dunscombe laid down woodwind and microtonal brass. In addition, Icelandic singer-songwriter JFDR delivered her intimate vocals and James Ginzburg (Emptyset) mixed it, with an ear for precise form. From his base in Berlin, Slater would flag the sounds he loved; some twitching strings, the stolen alto voice from an abandoned English chorale, some words from a climate scientist fleshed into a poem. It became an exercise in receptivity, in which openness itself became a creative voice, hushing Slater’s tendency to micromanage every detail. These interactions were pulled together into a single piece written for two sides of a single 12” vinyl; one side describing collapse (‘Darn!’) and the other, recovery (‘Kintsugi’). Influenced by the 70s concept prog records of his childhood, the album loops without ending, so you are never really allowed to rest in safety.

“Structurally the piece traces a recurrent mental image of mine in which a body is falling through space so slowly that I'm unsure if it is moving at all, while simultaneously and continually I’m anticipating the looming threat of bodily pain. Thankfully, also embedded in this movement is the anticipation of the inevitability of recovery. This ambiguous space between glacial-pace self-destruction and the potential of a return to one's feet become two aspects of the same dynamic, and indeed, I feel that we are often suspended perilously close to both. Within these cycles of collapse and recovery, be they personal, systemic, global or political, my sense of powerlessness is offset by the hope that at least my own actions could be rooted in kindness – I do not wish to be known as a vandal.”

The album showcases the breadth of Slater’s range as composer and producer, transitioning through distinctly different spaces, from the glitchy, clipped intro, into Icelandic folktronica, into swathes of menacing string mutations and eerie, mournful woodwind. These vivid, four dimensional scenes conjure a bleak beauty and sense of purgatory akin to Clark’s ‘Playground In A Lake’, with JFDR‘s voice providing a more familiar sense of reassurance – something human to cling to amidst murky abstracts depths, where effects twist instruments into barely recognisable shapes. 
]]></content:encoded>

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                  <g:adult>no</g:adult>
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      <title>Sam Slater : I do not wish to be known as a Vandal - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/i-do-not-wish-to-be-known-as-a-v-0</link>      <description>
                When it came to the recording of ‘I Do Not Wish To Be Known As A Vandal’, Slater called on a number of creative forces. Recorded remotely, each musician would send a sound, some words, some creative parameters, and Slater would respond in turn. Hildur Guðnadóttir provided distinct Doro phone sounds, Yair Glotman played thunderous double-bass, and Hilary Jeffrey and Sam Dunscombe laid down woodwind and microtonal brass. In addition, Icelandic singer-songwriter JFDR delivered her intimate vocals a      </description>
      <guid isPermaLink="false">117651400860142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[When it came to the recording of ‘I Do Not Wish To Be Known As A Vandal’, Slater called on a number of creative forces. Recorded remotely, each musician would send a sound, some words, some creative parameters, and Slater would respond in turn. Hildur Guðnadóttir provided distinct Doro phone sounds, Yair Glotman played thunderous double-bass, and Hilary Jeffrey and Sam Dunscombe laid down woodwind and microtonal brass. In addition, Icelandic singer-songwriter JFDR delivered her intimate vocals and James Ginzburg (Emptyset) mixed it, with an ear for precise form. From his base in Berlin, Slater would flag the sounds he loved; some twitching strings, the stolen alto voice from an abandoned English chorale, some words from a climate scientist fleshed into a poem. It became an exercise in receptivity, in which openness itself became a creative voice, hushing Slater’s tendency to micromanage every detail. These interactions were pulled together into a single piece written for two sides of a single 12” vinyl; one side describing collapse (‘Darn!’) and the other, recovery (‘Kintsugi’). Influenced by the 70s concept prog records of his childhood, the album loops without ending, so you are never really allowed to rest in safety.

“Structurally the piece traces a recurrent mental image of mine in which a body is falling through space so slowly that I'm unsure if it is moving at all, while simultaneously and continually I’m anticipating the looming threat of bodily pain. Thankfully, also embedded in this movement is the anticipation of the inevitability of recovery. This ambiguous space between glacial-pace self-destruction and the potential of a return to one's feet become two aspects of the same dynamic, and indeed, I feel that we are often suspended perilously close to both. Within these cycles of collapse and recovery, be they personal, systemic, global or political, my sense of powerlessness is offset by the hope that at least my own actions could be rooted in kindness – I do not wish to be known as a vandal.”

The album showcases the breadth of Slater’s range as composer and producer, transitioning through distinctly different spaces, from the glitchy, clipped intro, into Icelandic folktronica, into swathes of menacing string mutations and eerie, mournful woodwind. These vivid, four dimensional scenes conjure a bleak beauty and sense of purgatory akin to Clark’s ‘Playground In A Lake’, with JFDR‘s voice providing a more familiar sense of reassurance – something human to cling to amidst murky abstracts depths, where effects twist instruments into barely recognisable shapes. 
]]></content:encoded>

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      <g:price>10.00 GBP</g:price>
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                  <g:adult>no</g:adult>
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    <item>

      <title>Valgeir Sigurðsson &amp; Sigurður Guðjónsson : Perpetual Motion - Cassette Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/perpetual-motion-23</link>      <description>
                A collaborative work by label founder Valgeir Sigurðsson and Reykjavík based contemporary artist Sigurður Guðjónsson: PERPETUAL MOTION is available on Audio Cassette and Digital Download.

This release is available exclusively via Bandcamp*.

PERPETUAL MOTION is the soundtrack to Sigurður Guðjónsson&apos;s multisensory sculpture created for the 59 International Art Exhibition – La Biennale di Venezia, and presented at the Icelandic Pavilion in Arsenale, Venice.

The interplay of sound and visio      </description>
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      <content:encoded><![CDATA[A collaborative work by label founder Valgeir Sigurðsson and Reykjavík based contemporary artist Sigurður Guðjónsson: PERPETUAL MOTION is available on Audio Cassette and Digital Download.

This release is available exclusively via Bandcamp*.

PERPETUAL MOTION is the soundtrack to Sigurður Guðjónsson's multisensory sculpture created for the 59 International Art Exhibition – La Biennale di Venezia, and presented at the Icelandic Pavilion in Arsenale, Venice.

The interplay of sound and vision features throughout Guðjónsson’s oeuvre. The artist uses intricate soundscapes as the foundation of his works, drawing out the acoustic properties of his visual investigations to create a stronger link to the subject matter. Perpetual Motion features a visceral, 45 minute long soundtrack delivered in ‘vertical stereo’ which was co-created by the artist himself and Valgeir Sigurðsson.

The artwork offers a poetic exploration of materiality at the edge of the boundaries of perception, powerfully combining moving images and sound to activate the space and create an entrancing, meditative experience for visitors.

___

Sigurður Guðjónsson is best known for his striking time-based media works that often focus on man-made machinery and technical relics, investigating their enigmatic, hidden elements just beyond our field of vision. The artist experiments with camera lenses, perspective, light, and motion, amplifying and observing these forms and the transformations that take place as they interact with their environment. Perpetual Motion is staged as a split screen installation, with a six-metre-high vertical screen connected to a large-scale floor projection that occupies most of the exhibition space. The screens depict the constant drift of metal dust, amplified and magnified through the artist’s camera lens. Visitors can immerse themselves in the movement of the abstract material, as it warps and distorts, suggesting new shapes and imagery such as the surface of an outermost planet. Perpetual Motion’s visceral soundtrack responds to the granulated texture of the matter in the moving images using stacked electronic sounds that have been manipulated via granular synthesis. The soundscape fills the Pavilion and envelops visitors as they enter the artwork, forging a deeper connection with the frequencies of the metal dust as it moves and pulsates across the screens’ surface.


Icelandic Pavilion
59 International Art Exhibition –
of La Biennale di Venezia]]></content:encoded>

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      <title>Nico Muhly : Gift Of Fire - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/gift-of-fire-1</link>      <description>
                Bedroom Community is excited to announce a new release from one of the label’s founding members, Nico Muhly, with the stunning new score for Japanese film Gift Of Fire. The release sees Nico team up with esteemed Bedcom alumni Nadia Sirota for some of the most stirring performances for film we’ve heard in some time. Mixed and mastered by Valgeir Sigurdsson at Greenhouse Studios in Reykjavik, this is the first release that sees so many of the original stable of label creatives working together in      </description>
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      <content:encoded><![CDATA[Bedroom Community is excited to announce a new release from one of the label’s founding members, Nico Muhly, with the stunning new score for Japanese film Gift Of Fire. The release sees Nico team up with esteemed Bedcom alumni Nadia Sirota for some of the most stirring performances for film we’ve heard in some time. Mixed and mastered by Valgeir Sigurdsson at Greenhouse Studios in Reykjavik, this is the first release that sees so many of the original stable of label creatives working together in a long while.

The score is also receiving a wonderful CD release for the Japanese retail market, to go alongside the cinematic release of the film. We will have an extremely limited amount available on our bandcamp.

‘When Hiroshi Kurosaki asked me to write the score for his extraordinary film Gift of Fire , he made it clear that he was looking for something more than a soundtrack. He was drawn to concert music, longer than a typical film cue, and music with an emotional intensity commensurate with the difficult and provocative themes the movie explores. I immediately called one of my oldest collaborators, the violist Nadia Sirota, and decided to build the score as a suite of chamber music centered on Nadia, me, and percussionist Justin Peters at the heart of the sound. Rather than assigning an instrument to each of the three main characters in the movie, I wrote music which weaves their stories together, sometimes gently and sometimes violently. My longtime collaborator Fritz Myers recorded the instruments in New York very closely, so the grain of the instrument and imperfections in sound are themselves part of the content of the music. These pieces are supported by and sometimes antagonized by electronic sounds with which I’ve been working since my earliest collaborations with Valgeir Sigurðsson, who mixed and mastered this album’ - Nico Muhly 
]]></content:encoded>

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    <item>

      <title>Lyra Pramuk : Delta - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/delta-42</link>      <description>
                Life and society emerge where water tessellates over land and provides fertile soil. The chances of evolution that made them interact as they did could have had meaningful environmental consequences had things developed differently. For Lyra Pramuk, that fertile geology provides the ground for her albums. Fountain was that burst of water and swell of energy that propelled her to critical acclaim. Delta is a new take on a traditional remix album, centred on transgenerational dialogue and global s      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[Life and society emerge where water tessellates over land and provides fertile soil. The chances of evolution that made them interact as they did could have had meaningful environmental consequences had things developed differently. For Lyra Pramuk, that fertile geology provides the ground for her albums. Fountain was that burst of water and swell of energy that propelled her to critical acclaim. Delta is a new take on a traditional remix album, centred on transgenerational dialogue and global storytelling, and will be released again via Iceland’s Bedroom Community label. Projecting Fountain through prisms, wordless songs fractalize into lush creations that blossom with new life.

On Delta, a dozen artists across four continents freely interpret Fountain across a double LP, again featuring Donna Huanca’s surreal artwork, and the unearthly graphic manipulations of Nufolklore Studios. Remaining faithful to Fountain’s presentation, Lyra’s curation reflects her commitment to stylistic diversity, with the old guard and the next wave alongside each other. Where some artists chose to rework existing works, others composed new material from fragments found across the record. The results showcase the very themes of wordless identity conflict and technological concerns that Lyra and her foremothers have projected.

Valgeir Sigurdsson marries elements of Lyra’s entire catalogue into work that combines the limitless highs of Sigur Ros and the steady pulse of The Knife. KMRU cloaks Lyra in a hazy film, soundtracking the depths of space embedded within the ghosts of jungle past. Gabber Modus Operandi expose the realities of artificial nature in a multicoloured rave dystopia. Eris Drew’s double opus takes the tenets of her philosophies into both ambient and peaktime expressions of the trip, the things that lead to the decision before, and the portals that can open up after.

Ben Frost dissolves Cradle’s deep and tremulous hymn in analogue warble, distressed tape spooling out of control and breaking up over the heavens, while remaining oddly serene. Heaven In Stereo conjures up post-rock with trap drums out of Gossip, buried in bass weight and dub space. Nailah Hunter and Tygapaw transform New Moon into an earthbound ode to nature and a pounding trance state induction, while Caterina Barbieri and Hudson Mohawke extract and amplify Tendril’s mind and soul. Vessel takes what feels like the entire album and builds it up to a frantic climax before subsuming into Enoesque pastoralia.

Alongside Delta, Lyra has collaborated with Spitfire Audio to develop Siren Songs, a free plug-in for their LABS series made from playable samples from Fountain, able to work across DAWs in multiple formats. By removing barriers to access, the listener can craft their own responses to the album’s themes, or use its language to express their innermost feelings in their own works.

The ability to have such sheer diversity of material in one place is thanks to the global increase in accessible technologies, fueling an explosion of creativity and genre exploration that was thought of as unthinkable in our lifetimes. Like its namesake, Delta is a point where creative flows meet and triangulate, where global and personal folk histories are presented in novel ways, where transcultural collaboration is celebrated, where many worlds emerge from the depths below. 
]]></content:encoded>

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      <title>Lyra Pramuk : Delta (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://bedroomcommunity.greedbag.com/buy/delta-42</link>      <description>
                Life and society emerge where water tessellates over land and provides fertile soil. The chances of evolution that made them interact as they did could have had meaningful environmental consequences had things developed differently. For Lyra Pramuk, that fertile geology provides the ground for her albums. Fountain was that burst of water and swell of energy that propelled her to critical acclaim. Delta is a new take on a traditional remix album, centred on transgenerational dialogue and global s      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[Life and society emerge where water tessellates over land and provides fertile soil. The chances of evolution that made them interact as they did could have had meaningful environmental consequences had things developed differently. For Lyra Pramuk, that fertile geology provides the ground for her albums. Fountain was that burst of water and swell of energy that propelled her to critical acclaim. Delta is a new take on a traditional remix album, centred on transgenerational dialogue and global storytelling, and will be released again via Iceland’s Bedroom Community label. Projecting Fountain through prisms, wordless songs fractalize into lush creations that blossom with new life.

On Delta, a dozen artists across four continents freely interpret Fountain across a double LP, again featuring Donna Huanca’s surreal artwork, and the unearthly graphic manipulations of Nufolklore Studios. Remaining faithful to Fountain’s presentation, Lyra’s curation reflects her commitment to stylistic diversity, with the old guard and the next wave alongside each other. Where some artists chose to rework existing works, others composed new material from fragments found across the record. The results showcase the very themes of wordless identity conflict and technological concerns that Lyra and her foremothers have projected.

Valgeir Sigurdsson marries elements of Lyra’s entire catalogue into work that combines the limitless highs of Sigur Ros and the steady pulse of The Knife. KMRU cloaks Lyra in a hazy film, soundtracking the depths of space embedded within the ghosts of jungle past. Gabber Modus Operandi expose the realities of artificial nature in a multicoloured rave dystopia. Eris Drew’s double opus takes the tenets of her philosophies into both ambient and peaktime expressions of the trip, the things that lead to the decision before, and the portals that can open up after.

Ben Frost dissolves Cradle’s deep and tremulous hymn in analogue warble, distressed tape spooling out of control and breaking up over the heavens, while remaining oddly serene. Heaven In Stereo conjures up post-rock with trap drums out of Gossip, buried in bass weight and dub space. Nailah Hunter and Tygapaw transform New Moon into an earthbound ode to nature and a pounding trance state induction, while Caterina Barbieri and Hudson Mohawke extract and amplify Tendril’s mind and soul. Vessel takes what feels like the entire album and builds it up to a frantic climax before subsuming into Enoesque pastoralia.

Alongside Delta, Lyra has collaborated with Spitfire Audio to develop Siren Songs, a free plug-in for their LABS series made from playable samples from Fountain, able to work across DAWs in multiple formats. By removing barriers to access, the listener can craft their own responses to the album’s themes, or use its language to express their innermost feelings in their own works.

The ability to have such sheer diversity of material in one place is thanks to the global increase in accessible technologies, fueling an explosion of creativity and genre exploration that was thought of as unthinkable in our lifetimes. Like its namesake, Delta is a point where creative flows meet and triangulate, where global and personal folk histories are presented in novel ways, where transcultural collaboration is celebrated, where many worlds emerge from the depths below. 
]]></content:encoded>

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    <item>

      <title>Lyra Pramuk : Delta (Blue Marble vinyl) - 12&quot; Vinyl Album (Blue Marble vinyl)</title>
      <link>https://bedroomcommunity.greedbag.com/buy/delta-42</link>      <description>
                Life and society emerge where water tessellates over land and provides fertile soil. The chances of evolution that made them interact as they did could have had meaningful environmental consequences had things developed differently. For Lyra Pramuk, that fertile geology provides the ground for her albums. Fountain was that burst of water and swell of energy that propelled her to critical acclaim. Delta is a new take on a traditional remix album, centred on transgenerational dialogue and global s      </description>
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      <content:encoded><![CDATA[Life and society emerge where water tessellates over land and provides fertile soil. The chances of evolution that made them interact as they did could have had meaningful environmental consequences had things developed differently. For Lyra Pramuk, that fertile geology provides the ground for her albums. Fountain was that burst of water and swell of energy that propelled her to critical acclaim. Delta is a new take on a traditional remix album, centred on transgenerational dialogue and global storytelling, and will be released again via Iceland’s Bedroom Community label. Projecting Fountain through prisms, wordless songs fractalize into lush creations that blossom with new life.

On Delta, a dozen artists across four continents freely interpret Fountain across a double LP, again featuring Donna Huanca’s surreal artwork, and the unearthly graphic manipulations of Nufolklore Studios. Remaining faithful to Fountain’s presentation, Lyra’s curation reflects her commitment to stylistic diversity, with the old guard and the next wave alongside each other. Where some artists chose to rework existing works, others composed new material from fragments found across the record. The results showcase the very themes of wordless identity conflict and technological concerns that Lyra and her foremothers have projected.

Valgeir Sigurdsson marries elements of Lyra’s entire catalogue into work that combines the limitless highs of Sigur Ros and the steady pulse of The Knife. KMRU cloaks Lyra in a hazy film, soundtracking the depths of space embedded within the ghosts of jungle past. Gabber Modus Operandi expose the realities of artificial nature in a multicoloured rave dystopia. Eris Drew’s double opus takes the tenets of her philosophies into both ambient and peaktime expressions of the trip, the things that lead to the decision before, and the portals that can open up after.

Ben Frost dissolves Cradle’s deep and tremulous hymn in analogue warble, distressed tape spooling out of control and breaking up over the heavens, while remaining oddly serene. Heaven In Stereo conjures up post-rock with trap drums out of Gossip, buried in bass weight and dub space. Nailah Hunter and Tygapaw transform New Moon into an earthbound ode to nature and a pounding trance state induction, while Caterina Barbieri and Hudson Mohawke extract and amplify Tendril’s mind and soul. Vessel takes what feels like the entire album and builds it up to a frantic climax before subsuming into Enoesque pastoralia.

Alongside Delta, Lyra has collaborated with Spitfire Audio to develop Siren Songs, a free plug-in for their LABS series made from playable samples from Fountain, able to work across DAWs in multiple formats. By removing barriers to access, the listener can craft their own responses to the album’s themes, or use its language to express their innermost feelings in their own works.

The ability to have such sheer diversity of material in one place is thanks to the global increase in accessible technologies, fueling an explosion of creativity and genre exploration that was thought of as unthinkable in our lifetimes. Like its namesake, Delta is a point where creative flows meet and triangulate, where global and personal folk histories are presented in novel ways, where transcultural collaboration is celebrated, where many worlds emerge from the depths below. 
]]></content:encoded>

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      <title>Lyra Pramuk : Delta (Purple vinyl) - 12&quot; Vinyl Album (Purple vinyl)</title>
      <link>https://bedroomcommunity.greedbag.com/buy/delta-42</link>      <description>
                Life and society emerge where water tessellates over land and provides fertile soil. The chances of evolution that made them interact as they did could have had meaningful environmental consequences had things developed differently. For Lyra Pramuk, that fertile geology provides the ground for her albums. Fountain was that burst of water and swell of energy that propelled her to critical acclaim. Delta is a new take on a traditional remix album, centred on transgenerational dialogue and global s      </description>
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      <content:encoded><![CDATA[Life and society emerge where water tessellates over land and provides fertile soil. The chances of evolution that made them interact as they did could have had meaningful environmental consequences had things developed differently. For Lyra Pramuk, that fertile geology provides the ground for her albums. Fountain was that burst of water and swell of energy that propelled her to critical acclaim. Delta is a new take on a traditional remix album, centred on transgenerational dialogue and global storytelling, and will be released again via Iceland’s Bedroom Community label. Projecting Fountain through prisms, wordless songs fractalize into lush creations that blossom with new life.

On Delta, a dozen artists across four continents freely interpret Fountain across a double LP, again featuring Donna Huanca’s surreal artwork, and the unearthly graphic manipulations of Nufolklore Studios. Remaining faithful to Fountain’s presentation, Lyra’s curation reflects her commitment to stylistic diversity, with the old guard and the next wave alongside each other. Where some artists chose to rework existing works, others composed new material from fragments found across the record. The results showcase the very themes of wordless identity conflict and technological concerns that Lyra and her foremothers have projected.

Valgeir Sigurdsson marries elements of Lyra’s entire catalogue into work that combines the limitless highs of Sigur Ros and the steady pulse of The Knife. KMRU cloaks Lyra in a hazy film, soundtracking the depths of space embedded within the ghosts of jungle past. Gabber Modus Operandi expose the realities of artificial nature in a multicoloured rave dystopia. Eris Drew’s double opus takes the tenets of her philosophies into both ambient and peaktime expressions of the trip, the things that lead to the decision before, and the portals that can open up after.

Ben Frost dissolves Cradle’s deep and tremulous hymn in analogue warble, distressed tape spooling out of control and breaking up over the heavens, while remaining oddly serene. Heaven In Stereo conjures up post-rock with trap drums out of Gossip, buried in bass weight and dub space. Nailah Hunter and Tygapaw transform New Moon into an earthbound ode to nature and a pounding trance state induction, while Caterina Barbieri and Hudson Mohawke extract and amplify Tendril’s mind and soul. Vessel takes what feels like the entire album and builds it up to a frantic climax before subsuming into Enoesque pastoralia.

Alongside Delta, Lyra has collaborated with Spitfire Audio to develop Siren Songs, a free plug-in for their LABS series made from playable samples from Fountain, able to work across DAWs in multiple formats. By removing barriers to access, the listener can craft their own responses to the album’s themes, or use its language to express their innermost feelings in their own works.

The ability to have such sheer diversity of material in one place is thanks to the global increase in accessible technologies, fueling an explosion of creativity and genre exploration that was thought of as unthinkable in our lifetimes. Like its namesake, Delta is a point where creative flows meet and triangulate, where global and personal folk histories are presented in novel ways, where transcultural collaboration is celebrated, where many worlds emerge from the depths below. 
]]></content:encoded>

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    <item>

      <title>HELIOCHRYSUM : We Become Mist - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/we-become-mist-0</link>      <description>
                LA based composer/sound designer duo Heliochrysum announce the release of their visceral, deep and exploratory debut album We Become Mist. The album has been mixed by Ben Frost and mastered by Valgeir Sigurdsson.

Heliochrysum is the world building meeting of Michael Deragon and Daniel Lea
( L A N D, Important Records), in which a collaboration becomes a sculpted journey into new aural and imaginative cosmology. We Become Mist uses analogue and digital processes to mine the depths of industri      </description>
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      <content:encoded><![CDATA[LA based composer/sound designer duo Heliochrysum announce the release of their visceral, deep and exploratory debut album We Become Mist. The album has been mixed by Ben Frost and mastered by Valgeir Sigurdsson.

Heliochrysum is the world building meeting of Michael Deragon and Daniel Lea
( L A N D, Important Records), in which a collaboration becomes a sculpted journey into new aural and imaginative cosmology. We Become Mist uses analogue and digital processes to mine the depths of industrial and science fictional, psychedelic soundscapes, often cinematic in tone and texture.

Taking their cue from a shared palette of sounds, textures and rhythms, Heliochrysum create a unifying score that is at once improvisatory and sonically certain. We Become Mist is nothing short of the progression from a souterrain awakening to the terraformed sound of a new world coming into existence.

These tracks overlay analog sound sources, digital hard wrought processing and visual sound design, constantly morphing and turning on their own searching torque. Mixed by Ben Frost and mastered by Valgeir Sigurdsson, the accumulation of sheer vision and depth is transportative, if not outright mind wrenching. In between this melding of the analogue and digital was mixed another element: the album is tinged with psilocybin technology. As a listener you can hear as you move through a psychedelic passage, like out of a state of lockdown into one of alien otherworldliness.

The piano, industrial crescendo of ‘We Remain Beneath’ is evidence of this, sounds modified into careful, lush arrangements. ‘A Future Unfolds’ sounds like a burnished unfurling, a resplendent distortion bringing to mind some epic revelation while tracks such as ‘Infinite Dark’ or ‘Pre Dawn’ bristle with chrome pulses that burn with alarm and dulcet drama.

Just as they did with their palette of sounds, Heliochrysum taps into a wide range of emotions from hope to devastation, growth and contagion.

The name Heliochrysum evokes the Latin for sunflower but also a healing tincture: in the overlaid orchestration and distorted lightness, the roiling, life-giving pour of the sun can be heard. Simplicity washed with emotional intensity, the remembered dreams of far-off, science-fictive discoveries.
]]></content:encoded>

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      <title>Manchester Collective : The Centre Is Everywhere - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/the-centre-is-everywhere-0</link>      <description>
                ‘The Centre is Everywhere’ is our first album. We created it in rather extraordinary circumstances, at a time when we were all slowly sinking into the banal dystopia of a pandemic-stricken world. Our lives, it felt, had slowed to a crawl. Normally we’re fuelled by our audiences, but touring was off the menu. So, we made this record. For us, it was personal.

In such an uncertain time, we wanted to play music that we loved. We ended up with a set of work written over a 120-year period – weightl      </description>
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      <content:encoded><![CDATA[‘The Centre is Everywhere’ is our first album. We created it in rather extraordinary circumstances, at a time when we were all slowly sinking into the banal dystopia of a pandemic-stricken world. Our lives, it felt, had slowed to a crawl. Normally we’re fuelled by our audiences, but touring was off the menu. So, we made this record. For us, it was personal.

In such an uncertain time, we wanted to play music that we loved. We ended up with a set of work written over a 120-year period – weightless and transcendent new music alongside Schoenberg’s anguished fin de siècle storytelling.

Edmund Finnis’ work in particular (the titular ‘The Centre is Everywhere’) is important to us. He’s a friend and a colleague, and it’s been a profound experience for us to live with this piece, to tour it, and to make the first ever recording. Somehow in the writing of it, Edmund seems to have prefigured the lack of certainty that has been one of the defining characteristics of this period. His music spins freely through time and space, wraithlike and beautiful.

Whilst recording both ‘Company’ by Philip Glass and ‘Transfigured Night’ by Arnold Schoenberg, we found ourselves drawn to a pervading sense of wildness and nature. The hypnotic rise and fall of the rhythms and textures in Glass’ quartet (presented here in an arrangement for string orchestra) feel quite separate to industrial, man-made structures and forms. Like Edmund’s work, these short movements feel out of time and cyclical, like eternally repeating tides or moon-phases.

Schoenberg’s masterpiece for string sextet opens on a moonlit forest scene, two lovers venturing through a bare, cold grove. We’ve tried to create a recording that paints the violent contrasts of this piece as vividly as possible, from the claustrophobic confessions that open the work through to the gleaming sound world of the second half. As the piece closes, our wooden, earthbound instruments seem to have been transmuted by the glamour and glow of Schoenberg’s music. We finish amongst the stars. ]]></content:encoded>

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      <title>Valgeir Sigurðsson : Kvika - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/kvika-2</link>      <description>
                KVIKA is the brand new album by Valgeir Sigurðsson. The music was used as the score for the wartime film MALÁ RÍŠA (Little Kingdom) by Slovakian director Peter Magát, and is now released as written on the composer’s own Bedroom Community label, performed by the Slovak Philharmonic Orchestra, Bohdan Warchal Slovak Chamber Orchestra, The University Choir Technik, and a number of Valgeir’s close collaborators from previous projects, including violinist Daniel Pioro.

KVIKA is the Icelandic word f      </description>
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      <content:encoded><![CDATA[KVIKA is the brand new album by Valgeir Sigurðsson. The music was used as the score for the wartime film MALÁ RÍŠA (Little Kingdom) by Slovakian director Peter Magát, and is now released as written on the composer’s own Bedroom Community label, performed by the Slovak Philharmonic Orchestra, Bohdan Warchal Slovak Chamber Orchestra, The University Choir Technik, and a number of Valgeir’s close collaborators from previous projects, including violinist Daniel Pioro.

KVIKA is the Icelandic word for magma – the molten mantle of the earth that sits below Iceland in giant reserves, prehistoric reservoirs of heat simmering away beneath stoic, frozen landscapes. This record is formed from 21 thoughtful musical stills, isolated feelings captured in sound in which low end modular synth manipulation on a tectonic scale pulses and moves swiftly to underpin Pioro's soaring solo violin and Valgeir’s cinematic arrangements. The sound is experimental, utterly beautiful, and unmistakably his.

Valgeir has become a master of sound to get lost in. Through his layering of his collaborators’ instrumental and vocal parts and a nuanced balance of electronic and organic sound, KVIKA is a perfect collection of moments that last only as long as they need before taking us elsewhere. After his award winning album Dissonance, it is a measure of his artistic inclinations that he looks to a shorter form of music making. Where Dissonance overwhelmed the ear with subterranean noise, sounds that seemed to last forever, KVIKA shimmers above the earth, fleeting and momentary.

"In a world that can give the impression of having left organic matter and acoustic sound behind, it is a privilege to hear Valgeir´s use of strings that sing with such an improvised and raw quality." - Daniel Pioro 
]]></content:encoded>

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      <title>Tilman Robinson : Culturecide - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/culturecide-1</link>      <description>
                Tilman Robinson’s third album, CULTURECIDE, is an investigation of the anthropocene; a seven part lamentation for our chaotic world.

CULTURECIDE: “…processes that have usually been purposely introduced that result in the decline or demise of a culture, without necessarily resulting in the physical destruction of its bearers.” (D. Stein, Routledge 2003)

CULTURECIDE is a rich sonic collage, harvesting sounds from a range sources including field recordings, medical machines that monitor the h      </description>
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      <content:encoded><![CDATA[Tilman Robinson’s third album, CULTURECIDE, is an investigation of the anthropocene; a seven part lamentation for our chaotic world.

CULTURECIDE: “…processes that have usually been purposely introduced that result in the decline or demise of a culture, without necessarily resulting in the physical destruction of its bearers.” (D. Stein, Routledge 2003)

CULTURECIDE is a rich sonic collage, harvesting sounds from a range sources including field recordings, medical machines that monitor the human body, traditional instruments and synthesisers, often melted electronically. The result is an unsettling paradox with sounds constantly on the edge of recognition. Each piece references a specific socio-political issue ranging from colonialism to neo-liberalism to climate change to the impending singularity of humans and machines. Far from answering these questions, CULTURECIDE invites us to meditate on their place in our life and achieve personal understanding.

Recorded and produced almost completely in Australia, a land at the forefront of the devastation of climate change, CULTURECIDE is an attempt at catharsis for its author frequently appalled at his country’s incredible apathy and inaction. Mixed by Bedroom Community regular Daniel Rejmer and mastered by Lawrence English, works from the ambitious and unsettling record saw Tilman nominated for the 2019 Melbourne Prize for Music.

Tilman Robinson is an Australian composer and sound designer creating electro-acoustic music across a range of genres including classical minimalism, improvised, experimental, electronic and ambient. Tilman’s diverse output focuses on the psychological impact of dense sound, employing acousmatic and psychoacoustic principles. His third album CULTURECIDE will be released on Iceland’s Bedroom Community label in April 2020. 
]]></content:encoded>

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      <title>Daniel Pioro : Dust - CD Album</title>
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                Daniel Pioro : Dust - CD Album      </description>
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      <content:encoded><![CDATA[]]></content:encoded>

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      <title>Nadia Sirota : Tessellatum - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/tessellatum-2</link>      <description>
                Tessellatum is an album and a film, with music composed by Donnacha Dennehy and animation by Steven Mertens, performed by violist Nadia Sirota and viola da gamba player Liam Byrne. The film and the music both work with the idea of man vs. nature. Steven Mertens’ electric animation toggles back and forth between man-made geometric perfection and the natural oddness of the deep ocean. Donnacha Dennehy’s addictive timbres move between tuning systems created by humans and the ones found in natural r      </description>
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      <content:encoded><![CDATA[Tessellatum is an album and a film, with music composed by Donnacha Dennehy and animation by Steven Mertens, performed by violist Nadia Sirota and viola da gamba player Liam Byrne. The film and the music both work with the idea of man vs. nature. Steven Mertens’ electric animation toggles back and forth between man-made geometric perfection and the natural oddness of the deep ocean. Donnacha Dennehy’s addictive timbres move between tuning systems created by humans and the ones found in natural resonance. As a result, the two works of art support and enhance each other, using the same form and structure to create an incredibly moving work of art.

All fifteen string parts were performed by Nadia Sirota and Liam Byrne on viola and viola da gamba. The album was recorded in Iceland’s famed Greenhouse Studios by Paul Evans and mixed by Valgeir Sigurðsson. Produced by Nadia Sirota.

ABOUT THE ARTISTS

Violist Nadia Sirota’s varied career spans solo performances, chamber music, and broadcasting. In all branches of her artistic life she aims to open classical music up to a broader audience. Nadia’s singular sound and expressive execution have served as muse to dozens of composers, including Nico Muhly, Bryce Dessner, Missy Mazzoli and Marcos Balter. Nadia won a 2015 Peabody Award, broadcasting’s highest honor, for her podcast Meet the Composer, from Q2 Music, which deftly profiles some of the most interesting musical thinkers living today. Nadia is a member of the chamber sextet yMusic and the chamber orchestra Alarm Will Sound.

Composer Donnacha Dennehy has had work featured in festivals and venues around the world, including the Edinburgh International Festival, Royal Opera House (London), Carnegie Hall, The Barbican, and BAM. His Nonesuch release Grá agus Bás was named one of NPR's "50 favorite albums" (in any genre) in 2011. He has been on the music faculty at Princeton University since 2014.

Director and animator Steven Mertens has worked in many forms, from traditional stop motion animation to 3D motion graphics, live action and design. Steven has directed music videos for artists including Regina Spektor, Cedric Gervais and Dan Auerbach. Steven was a featured artist in the Tribeca Film Festival's New Online Work ("NOW") program, which recognizes creators of fresh online work and highlights the next generation of online storytellers.

Liam Byrne divides his time between playing very old and very new music on the viola da gamba. For several years he was a member of the renowned viol consort Fretwork, with whom he toured internationally and played an active role in commissioning new works. He has recently had works written for him by David Lang, Edmund Finnis, Nico Muhly, Valgeir Sigurðsson and others. In April 2015, Liam became the first musician to be awarded a 6-month Artist Residency at London’s Victoria and Albert Museum, in connection with the opening of their new Europe 1600-1815 galleries.

---

Violist Nadia Sirota on Tessellatum:

Tessellatum was commissioned in an acute fit of jealousy. The first time I heard Donnacha Dennehy’s music I was seduced, I needed to be a part of that sound world, to inhabit it, even. Donnacha’s work is almost cubist — he fractures sonorities and re-assembles them into intricate kaleidoscopes of sound, thrusting piles of animated drones and pulses next to ionized timbres derived from the harmonic series.

For this piece, we settled on an odd and kind of unprecedented instrumentation: 11 bass viols and 5 violas. I had spent a loopy, jet-lagged morning reading renaissance duets with the viola da gamba player Liam Byrne in London, and become obsessed with the weird timbral pairing of viola and bass viola da gamba, which flips the darkest sounds to the highest register and the brightest sounds to the lowest.

Donnacha took this idea and spun gold with it, creating a kind of unrelentingly-beautiful wall of sound, which he deployed, along with harmonies derived from the harmonic series, to gradually un-moor the ear from its ingrained, equal-tempered references. For this record, Liam and I multi-tracked all 15 parts, producing a tapestry which moves from almost-medieval textures through spectral vales to nearly-Celtic passagework.

The animator Steven Mertens had a kind of crazy task: creating a way for audiences to absorb the structure of this tightly-woven work in real-time. Mertens solved for this in a completely unique way, creating his own syntax of abstracted deep-sea tabelaux, forming an alien but parallel world, structurally identical to the music but fully translated and adapted to his rich visual universe. The result is gorgeous, illuminating synergy- two works of art that support and enhance each other.

A note on tuning the viols:

The viola da gamba is most often associated with early music, music written in the 500-year span from the thirteenth century onwards, so how do you make that instrument perform the very modern task of playing Donnacha’s microtones — pitches that would be found in-between the keys of a piano?

It turns out that viols were kinda built for this. Back in their day, specifically the 16th-ish century, tuning systems were all over the place. Western music didn’t completely settle on our neat-n-tidy 12-equal half-steps thing until something like 200 years ago, and even so, equal temperament’s domination came about super gradually. So all this is to say: viols are actually pretty easy to modify. For Tessellatum, Liam split some frets and tied on a whole bunch of new ones. The tricky part was that, unlike oddly-tempered early music pieces, Tessellatum is constantly toggling between equal temperament and just (harmonic series) intonation. So this meant that Liam and Donnacha had to conspire pretty epically to make all these pitches physically possible. But they did it! And it’s ingenious and gorgeous and completely unique.
]]></content:encoded>

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      <title>Nadia Sirota : Tessellatum - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/tessellatum-2</link>      <description>
                Tessellatum is an album and a film, with music composed by Donnacha Dennehy and animation by Steven Mertens, performed by violist Nadia Sirota and viola da gamba player Liam Byrne. The film and the music both work with the idea of man vs. nature. Steven Mertens’ electric animation toggles back and forth between man-made geometric perfection and the natural oddness of the deep ocean. Donnacha Dennehy’s addictive timbres move between tuning systems created by humans and the ones found in natural r      </description>
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      <content:encoded><![CDATA[Tessellatum is an album and a film, with music composed by Donnacha Dennehy and animation by Steven Mertens, performed by violist Nadia Sirota and viola da gamba player Liam Byrne. The film and the music both work with the idea of man vs. nature. Steven Mertens’ electric animation toggles back and forth between man-made geometric perfection and the natural oddness of the deep ocean. Donnacha Dennehy’s addictive timbres move between tuning systems created by humans and the ones found in natural resonance. As a result, the two works of art support and enhance each other, using the same form and structure to create an incredibly moving work of art.

All fifteen string parts were performed by Nadia Sirota and Liam Byrne on viola and viola da gamba. The album was recorded in Iceland’s famed Greenhouse Studios by Paul Evans and mixed by Valgeir Sigurðsson. Produced by Nadia Sirota.

ABOUT THE ARTISTS

Violist Nadia Sirota’s varied career spans solo performances, chamber music, and broadcasting. In all branches of her artistic life she aims to open classical music up to a broader audience. Nadia’s singular sound and expressive execution have served as muse to dozens of composers, including Nico Muhly, Bryce Dessner, Missy Mazzoli and Marcos Balter. Nadia won a 2015 Peabody Award, broadcasting’s highest honor, for her podcast Meet the Composer, from Q2 Music, which deftly profiles some of the most interesting musical thinkers living today. Nadia is a member of the chamber sextet yMusic and the chamber orchestra Alarm Will Sound.

Composer Donnacha Dennehy has had work featured in festivals and venues around the world, including the Edinburgh International Festival, Royal Opera House (London), Carnegie Hall, The Barbican, and BAM. His Nonesuch release Grá agus Bás was named one of NPR's "50 favorite albums" (in any genre) in 2011. He has been on the music faculty at Princeton University since 2014.

Director and animator Steven Mertens has worked in many forms, from traditional stop motion animation to 3D motion graphics, live action and design. Steven has directed music videos for artists including Regina Spektor, Cedric Gervais and Dan Auerbach. Steven was a featured artist in the Tribeca Film Festival's New Online Work ("NOW") program, which recognizes creators of fresh online work and highlights the next generation of online storytellers.

Liam Byrne divides his time between playing very old and very new music on the viola da gamba. For several years he was a member of the renowned viol consort Fretwork, with whom he toured internationally and played an active role in commissioning new works. He has recently had works written for him by David Lang, Edmund Finnis, Nico Muhly, Valgeir Sigurðsson and others. In April 2015, Liam became the first musician to be awarded a 6-month Artist Residency at London’s Victoria and Albert Museum, in connection with the opening of their new Europe 1600-1815 galleries.

---

Violist Nadia Sirota on Tessellatum:

Tessellatum was commissioned in an acute fit of jealousy. The first time I heard Donnacha Dennehy’s music I was seduced, I needed to be a part of that sound world, to inhabit it, even. Donnacha’s work is almost cubist — he fractures sonorities and re-assembles them into intricate kaleidoscopes of sound, thrusting piles of animated drones and pulses next to ionized timbres derived from the harmonic series.

For this piece, we settled on an odd and kind of unprecedented instrumentation: 11 bass viols and 5 violas. I had spent a loopy, jet-lagged morning reading renaissance duets with the viola da gamba player Liam Byrne in London, and become obsessed with the weird timbral pairing of viola and bass viola da gamba, which flips the darkest sounds to the highest register and the brightest sounds to the lowest.

Donnacha took this idea and spun gold with it, creating a kind of unrelentingly-beautiful wall of sound, which he deployed, along with harmonies derived from the harmonic series, to gradually un-moor the ear from its ingrained, equal-tempered references. For this record, Liam and I multi-tracked all 15 parts, producing a tapestry which moves from almost-medieval textures through spectral vales to nearly-Celtic passagework.

The animator Steven Mertens had a kind of crazy task: creating a way for audiences to absorb the structure of this tightly-woven work in real-time. Mertens solved for this in a completely unique way, creating his own syntax of abstracted deep-sea tabelaux, forming an alien but parallel world, structurally identical to the music but fully translated and adapted to his rich visual universe. The result is gorgeous, illuminating synergy- two works of art that support and enhance each other.

A note on tuning the viols:

The viola da gamba is most often associated with early music, music written in the 500-year span from the thirteenth century onwards, so how do you make that instrument perform the very modern task of playing Donnacha’s microtones — pitches that would be found in-between the keys of a piano?

It turns out that viols were kinda built for this. Back in their day, specifically the 16th-ish century, tuning systems were all over the place. Western music didn’t completely settle on our neat-n-tidy 12-equal half-steps thing until something like 200 years ago, and even so, equal temperament’s domination came about super gradually. So all this is to say: viols are actually pretty easy to modify. For Tessellatum, Liam split some frets and tied on a whole bunch of new ones. The tricky part was that, unlike oddly-tempered early music pieces, Tessellatum is constantly toggling between equal temperament and just (harmonic series) intonation. So this meant that Liam and Donnacha had to conspire pretty epically to make all these pitches physically possible. But they did it! And it’s ingenious and gorgeous and completely unique.
]]></content:encoded>

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      <title>Crash Ensemble : Ghosts (Digipack) - CD Album (Digipack)</title>
      <link>https://bedroomcommunity.greedbag.com/buy/ghosts-193</link>      <description>
                The Crash Ensemble has already cemented its place at the center of Irish contemporary music in the early 21st century. Ghosts simply confirms the band’s importance. The playing is confident and incisive – as it would have to be to negotiate these four works, each of which provides both rhythmic and textural challenges. Nico Muhly’s “Drones, Variations, Ornaments” unfolds gradually, accumulating restless energy until it sails along on the kinetic rhythms of American postminimalism. A striking cod      </description>
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      <content:encoded><![CDATA[The Crash Ensemble has already cemented its place at the center of Irish contemporary music in the early 21st century. Ghosts simply confirms the band’s importance. The playing is confident and incisive – as it would have to be to negotiate these four works, each of which provides both rhythmic and textural challenges. Nico Muhly’s “Drones, Variations, Ornaments” unfolds gradually, accumulating restless energy until it sails along on the kinetic rhythms of American postminimalism. A striking coda reveals the chamber orchestra lurking beneath the brash new music ensemble.

Icelandic composer/producer Valgeir Sigurðsson also offers two ways of looking at the ensemble. The title track, Ghosts, features a dark, moody texture that reflects Sigurðsson’s interest in electroacoustic sounds. Past Tundra is such a marvel of steady, pulsing, but cleverly syncopated rhythm that it may be easy to miss the poignant harmonies that characterize most of the work until its buoyant finale.

Unsurprisingly, Donnacha Dennehy, a co-founder of the ensemble, revels in the “classic” Crash sound in his piece As An Nos, with its layering of rhythmic cells, its instruments echoing or moving in hocket with each other, and its fabric of tightly woven musical threads. Dennehy offers a kaleidoscopic range of instrumental colors from one moment to the next in the work’s tremulous middle section, but the piece gradually asserts itself and becomes an insistent, chattering conversation of rhythms. As An Nos (and the record as a whole) presents a real challenge to both band and conductor, but in the best “never let them see you sweat” tradition, Crash pull it off with a bravura finish. 
]]></content:encoded>

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      <title>Valgeir Sigurðsson : Dissonance - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/dissonance-18</link>      <description>
                History freely dilates and collapses on Valgeir Sigurðsson’s Dissonance, his first solo release since 2012. Its three large-scale works are haunted by the old Western tradition, infused with the ethereal workings of electronics and sound manipulation.

Dissonance treads elegantly along a fine line between traditional symphonic organicism and the fissures of the faltering structures of reality. It takes forward Sigurðsson&apos;s typically expansive, panoramic writing, and elevates it to a perpetual       </description>
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      <content:encoded><![CDATA[History freely dilates and collapses on Valgeir Sigurðsson’s Dissonance, his first solo release since 2012. Its three large-scale works are haunted by the old Western tradition, infused with the ethereal workings of electronics and sound manipulation.

Dissonance treads elegantly along a fine line between traditional symphonic organicism and the fissures of the faltering structures of reality. It takes forward Sigurðsson's typically expansive, panoramic writing, and elevates it to a perpetual construction and deconstruction of time and space.

These are hardly his first experiments with the archaic technology of classical instruments, but here the distance between past and present is precisely what the music itself is designed to explore, and to distort.

Recorded and produced between September 2015 and November 2016 at Greenhouse Studios, Dissonance is disarmingly human, reflecting the most extreme four years of Sigurðsson’s life full of ecstatic joy and deep sorrow. Dissonance is a personal and collective musical treatise to explore and question a world that is collapsing under its internal dissonances.

The recording process on Dissonance incorporates an orchestral recording technique that Sigurðsson has been developing for some years now, where he breaks up the orchestra and records each of its sections separately. Layer after layer he records performances by collaborators Liam Byrne and Reykjavík Sinfonia. A handful of string players and just one of each of the orchestra's instruments are then multiplied to create an imaginary orchestra. This method enables Sigurðsson's complete control over all the details and nuances, and the trade-off for the time-consuming process is a truly unique sounding ensemble that is at the composer's disposal for further electronic manipulation. This also results in an elastic palette of sound for the live performance version of Dissonance which Sigurðsson will take to the stage in 2017, alongside Liam Byrne (on strings) and visuals created by the Antivj collective. 
]]></content:encoded>

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      <title>Valgeir Sigurðsson : Dissonance - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/dissonance-18</link>      <description>
                History freely dilates and collapses on Valgeir Sigurðsson’s Dissonance, his first solo release since 2012. Its three large-scale works are haunted by the old Western tradition, infused with the ethereal workings of electronics and sound manipulation.

Dissonance treads elegantly along a fine line between traditional symphonic organicism and the fissures of the faltering structures of reality. It takes forward Sigurðsson&apos;s typically expansive, panoramic writing, and elevates it to a perpetual       </description>
      <guid isPermaLink="false">117628978060142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[History freely dilates and collapses on Valgeir Sigurðsson’s Dissonance, his first solo release since 2012. Its three large-scale works are haunted by the old Western tradition, infused with the ethereal workings of electronics and sound manipulation.

Dissonance treads elegantly along a fine line between traditional symphonic organicism and the fissures of the faltering structures of reality. It takes forward Sigurðsson's typically expansive, panoramic writing, and elevates it to a perpetual construction and deconstruction of time and space.

These are hardly his first experiments with the archaic technology of classical instruments, but here the distance between past and present is precisely what the music itself is designed to explore, and to distort.

Recorded and produced between September 2015 and November 2016 at Greenhouse Studios, Dissonance is disarmingly human, reflecting the most extreme four years of Sigurðsson’s life full of ecstatic joy and deep sorrow. Dissonance is a personal and collective musical treatise to explore and question a world that is collapsing under its internal dissonances.

The recording process on Dissonance incorporates an orchestral recording technique that Sigurðsson has been developing for some years now, where he breaks up the orchestra and records each of its sections separately. Layer after layer he records performances by collaborators Liam Byrne and Reykjavík Sinfonia. A handful of string players and just one of each of the orchestra's instruments are then multiplied to create an imaginary orchestra. This method enables Sigurðsson's complete control over all the details and nuances, and the trade-off for the time-consuming process is a truly unique sounding ensemble that is at the composer's disposal for further electronic manipulation. This also results in an elastic palette of sound for the live performance version of Dissonance which Sigurðsson will take to the stage in 2017, alongside Liam Byrne (on strings) and visuals created by the Antivj collective. 
]]></content:encoded>

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      <title>Jodie Landau : You Of All Things - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/you-of-all-things-2</link>      <description>
                Even if, in addition to writing, playing and singing his own material, Jodie Landau had not brought on board an established producer, three other L.A.-based composers, six chamber musicians, and an entire Icelandic women&apos;s chorus, you of all things would still be a most unusual debut.

For one thing, Landau&apos;s voice is a most unusual instrument. At once raw and exposed, pure and unerringly precise, his vocals are able to veer between choirboy cantillation, torch-singer croon, and full-throated       </description>
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      <content:encoded><![CDATA[Even if, in addition to writing, playing and singing his own material, Jodie Landau had not brought on board an established producer, three other L.A.-based composers, six chamber musicians, and an entire Icelandic women's chorus, you of all things would still be a most unusual debut.

For one thing, Landau's voice is a most unusual instrument. At once raw and exposed, pure and unerringly precise, his vocals are able to veer between choirboy cantillation, torch-singer croon, and full-throated bellow without losing a character that is unmistakably his own. And his compositional aesthetic—which manages to encompass both the unpretentious bounce of popular song and moments of ominous stasis, setting his own, emotionally intimate lyrics or penning purely instrumental interludes—demands that elasticity.

His other instruments are a little out of the ordinary, as well: in addition to singing, Landau beats and bows on a small battery of percussion instruments. But as a vocalist, a composer, and as a percussionist, Landau insinuates himself effortlessly into every layer of music-making on the album. The truly remarkable thing about this project is how naturally Landau brings together the large circle of collaborators responsible for making this album happen. Simply put, Jodie Landau plays well with others.

The genesis of this project came when Landau first heard that Icelandic women's choir, Graduale Nobili, perform in Los Angeles as part of Björk's Biophilia project. Astonished by their technical range, he immediately wanted to collaborate, and after the opportunity arose to forge a personal connection with members of the ensemble, he began the push to create a recording that would take advantage of their unique sound. In practice, that means we hear a chorus offering everything from high-lying, angelic harmonies to percussive vocal effects reminiscent of Balinese monkey-chant.

Landau found the rest of his collaborators a good deal closer to home, among the musical family he has cultivated within the Los Angeles new-music scene. wild Up, a rising young new-music ensemble led by Christopher Rountree—who conducts here —has a long association with the singer/composer, and like Graduale Nobili, provide both accompanimental textures and moments of their own highly exposed virtuosity, to the extent that if one takes the album as a whole, there is not so much the sense that any one of these elements is working in service of any other, as that they are all organically interdependent and interconnected systems essential to a single sound-world.

Each performing unit, in turn, might seem to be the logical outgrowth of any of the others, thanks in part to the cunningly idiomatic writing of these composers—not just Jodie Landau, but also his and wild Up's fellow Angelenos Ellen Reid, Marc Lowenstein, and Andrew Tholl—which allows the vocals and instruments to blur into each other, so that the sound of the choir seems to effloresce from the sound of the instruments one moment, from Landau's voice the next, and in the moment after that suddenly become the musical point of focus.

But each composer also exercises a radically different style. Tholl's memory draws the map we follow is a series of inexorable, emotionally fraught cycles; Reid's Orlando & Tiresias is a severe, quasi-operatic dialogue between chorus and soloist; This, by Lowenstein, is a sprawling, mystical rumination. Each guides the energy of these performers in another direction from Landau's compositions, and from each other.

Once the list of collaborators was in place, the sessions were rehearsed, performed, and recorded—by producer/composer Valgeir Sigurðsson with Paul Evans —in a week and a half, on a largely crowdfunded budget. The scores demand a certain spontaneity from the performers, and that spontaneity is reflected in a recording that captures the whirlwind energy of these sessions, without sacrificing clarity, quality or color of sound. The resulting album offers us a glimpse of a wild, chimerical beast, caught in action for the first time, but never quite tamed. 
]]></content:encoded>

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      <title>Emily Hall : Folie à Deux - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/folie-deux-13</link>      <description>
                With ‘Folie à Deux’, Bedroom Community introduces a new artist to their roster in the form of award winning British composer Emily Hall.

‘Folie à Deux’ is a sonic voyage into a shared psychosis where a delusion is transmitted from one person to another and is a lyrical and intense investigation into love and loneliness within a relationship.

The piece is a collaboration with Icelandic writer and long-time Björk collaborator Sjón and was co-conceived as both concept album and an opera. Hall      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[With ‘Folie à Deux’, Bedroom Community introduces a new artist to their roster in the form of award winning British composer Emily Hall.

‘Folie à Deux’ is a sonic voyage into a shared psychosis where a delusion is transmitted from one person to another and is a lyrical and intense investigation into love and loneliness within a relationship.

The piece is a collaboration with Icelandic writer and long-time Björk collaborator Sjón and was co-conceived as both concept album and an opera. Hall’s minimal and intricately crafted songs in this modern folk tale are woven together for two singers, Sofia Jernberg (Swedish vocalist) and Allan Clayton (British tenor), and a specially created electro-magnetic harp. This newly created instrument uses vibrating magnets to evoke an underlying electronic presence representing the pylon – the third character that presides over this story. The result is a hauntingly beautiful soundscape which takes its influences from many musical idioms ranging classical to jazz, pop and folk.

Commissioned as a live stage show by Mahogany Opera Group. Vocals by Sofia Jernberg and Finnur Bjarnason

The album features beats from Mira Calix, was mixed by Valgeir Sigurðsson in Reykjavík and co-produced by Valgeir and Hall herself.
]]></content:encoded>

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                  <g:adult>no</g:adult>
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    <item>

      <title>Puzzle Muteson : Theatrics - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/theatrics-2</link>      <description>
                Theatrics picks up where Puzzle Muteson’s debut, En Garde (2011,
Bedroom Community), left off; the eleven tracks telling an intriguing story with every minute that passes; his talent for heartwrenching melodies and melancholic lyrics shining through like never before.

Where En Garde introduced dream-like strings, Theatrics intertwines
melody with mechanism; the album is as much a folk song fairytale as it is an exploration of electronic wonders.

Some songs have just been born, some have       </description>
      <guid isPermaLink="false">117649927390142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Theatrics picks up where Puzzle Muteson’s debut, En Garde (2011,
Bedroom Community), left off; the eleven tracks telling an intriguing story with every minute that passes; his talent for heartwrenching melodies and melancholic lyrics shining through like never before.

Where En Garde introduced dream-like strings, Theatrics intertwines
melody with mechanism; the album is as much a folk song fairytale as it is an exploration of electronic wonders.

Some songs have just been born, some have slowly but surely reached
their peak through years of delicate edits. And then there is the unique
take on New Order’s classic 1987 song „True Faith“, where Puzzle
Muteson breathes new life into this 1987 gem, undeniably making it
his own with his trembling voice.

Theatrics features a many musicians at the height of their craft, including labelmates Nico Muhly and Valgeir Sigurðsson, the latter of which co-produced the album with Boe Weaver. 
]]></content:encoded>

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    <item>

      <title>Daníel Bjarnason : Over Light Earth - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/over-light-earth-5</link>      <description>
                Bedroom Community releases Daníel Bjarnason’s Over Light Earth on September 30th 2013.

This is the Icelandic multi award-winning composer’s second solo-album and third release on Bedroom Community, hot on the heels of his SÓLARIS collaboration with labelmate Ben Frost.

Bjarnason’s critically acclaimed debut album Processions was hailed by Time Out NY as ‘coming eerily close to defining classical music’s undefinable brave new world’. On Over Light Earth the intensity of Bjarnason’s orchestr      </description>
      <guid isPermaLink="false">117649818500142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Bedroom Community releases Daníel Bjarnason’s Over Light Earth on September 30th 2013.

This is the Icelandic multi award-winning composer’s second solo-album and third release on Bedroom Community, hot on the heels of his SÓLARIS collaboration with labelmate Ben Frost.

Bjarnason’s critically acclaimed debut album Processions was hailed by Time Out NY as ‘coming eerily close to defining classical music’s undefinable brave new world’. On Over Light Earth the intensity of Bjarnason’s orchestral voice is captured through meticulous close-miking and multitracking, a recording process that sets this recording radically apart from that of conventional orchestral recordings. This album is very much the fruit of Bjarnason’s ongoing and intimate symbiosis with Bedroom Community’s Valgeir Sigurðsson.

Here, with engineer Paul Evans and the newly formed Reykjavík Sinfonia, they have produced a suitably unconventional symphonic recording. As much at home in the recording studio as he is on the conductor’s podium, it’s no wonder Bjarnason is equally effective in collaboration with other sonic architects, whether it’s the band Sigur Rós —he collaborated with them on their last two albums— or his Bedroom Community labelmates.

Over Light Earth comprises of three major works; the title work which was commissioned and premiered by the Los Angeles Philharmonic and is Bjarnason’s sonic nod towards the work of the so-called New York School of painters like Mark Rothko and Jackson Pollock, whose canvases No. 9 (Dark Over Light Earth) and Number 1, 1949 inspired the two movements of ‘‘Over Light Earth’.

The second piece is aptly titled ‘Emergence’. The inexorable progresses of the underlying harmonies suggest a vast, preexisting form just coming into view, but while these harmonies keep steady somewhere beneath the audible surface of the piece, they’re manifested in a range of unstable attacks, hesitations and anticipations.

The third and final piece ‘Solitudes’, is an early work that is in fact Daníel’s first piano concerto, here reworked with electronics by Sigurðsson and Frost. In this piece Bjarnason demonstrates his mastery of more complex harmonies and melodies.

He uses the technique of muffling the piano strings to create syncopated, danceable rhythms almost like percussion pieces for piano and there might be a hint of a young John Cage here; of the rhythmically vital, pseudo-primitive prepared piano works. It’s between the simple elements and more abstract materials - between harmonic motion and pure gesture - that we can hear Daníel Bjarnason’s compositional voice itself beginning to emerge. 
]]></content:encoded>

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                  <g:adult>no</g:adult>
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    <item>

      <title>Daníel Bjarnason : Over Light Earth - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/over-light-earth-5</link>      <description>
                Bedroom Community releases Daníel Bjarnason’s Over Light Earth on September 30th 2013.

This is the Icelandic multi award-winning composer’s second solo-album and third release on Bedroom Community, hot on the heels of his SÓLARIS collaboration with labelmate Ben Frost.

Bjarnason’s critically acclaimed debut album Processions was hailed by Time Out NY as ‘coming eerily close to defining classical music’s undefinable brave new world’. On Over Light Earth the intensity of Bjarnason’s orchestr      </description>
      <guid isPermaLink="false">117649818600142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Bedroom Community releases Daníel Bjarnason’s Over Light Earth on September 30th 2013.

This is the Icelandic multi award-winning composer’s second solo-album and third release on Bedroom Community, hot on the heels of his SÓLARIS collaboration with labelmate Ben Frost.

Bjarnason’s critically acclaimed debut album Processions was hailed by Time Out NY as ‘coming eerily close to defining classical music’s undefinable brave new world’. On Over Light Earth the intensity of Bjarnason’s orchestral voice is captured through meticulous close-miking and multitracking, a recording process that sets this recording radically apart from that of conventional orchestral recordings. This album is very much the fruit of Bjarnason’s ongoing and intimate symbiosis with Bedroom Community’s Valgeir Sigurðsson.

Here, with engineer Paul Evans and the newly formed Reykjavík Sinfonia, they have produced a suitably unconventional symphonic recording. As much at home in the recording studio as he is on the conductor’s podium, it’s no wonder Bjarnason is equally effective in collaboration with other sonic architects, whether it’s the band Sigur Rós —he collaborated with them on their last two albums— or his Bedroom Community labelmates.

Over Light Earth comprises of three major works; the title work which was commissioned and premiered by the Los Angeles Philharmonic and is Bjarnason’s sonic nod towards the work of the so-called New York School of painters like Mark Rothko and Jackson Pollock, whose canvases No. 9 (Dark Over Light Earth) and Number 1, 1949 inspired the two movements of ‘‘Over Light Earth’.

The second piece is aptly titled ‘Emergence’. The inexorable progresses of the underlying harmonies suggest a vast, preexisting form just coming into view, but while these harmonies keep steady somewhere beneath the audible surface of the piece, they’re manifested in a range of unstable attacks, hesitations and anticipations.

The third and final piece ‘Solitudes’, is an early work that is in fact Daníel’s first piano concerto, here reworked with electronics by Sigurðsson and Frost. In this piece Bjarnason demonstrates his mastery of more complex harmonies and melodies.

He uses the technique of muffling the piano strings to create syncopated, danceable rhythms almost like percussion pieces for piano and there might be a hint of a young John Cage here; of the rhythmically vital, pseudo-primitive prepared piano works. It’s between the simple elements and more abstract materials - between harmonic motion and pure gesture - that we can hear Daníel Bjarnason’s compositional voice itself beginning to emerge. 
]]></content:encoded>

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      <title>James McVinnie : Cycles - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/cycles-64</link>      <description>
                James McVinnie’s Cycles comprises thirteen organ pieces by labelmate and composer Nico Muhly. Performing the pieces in addition to McVinnie are Nadia Sirota, Chris Thompson and Simon Wall.

McVinnie is neither a stranger to Muhly’s music nor the label’s output, having collaborated closely with its artists in recent years. What makes McVinnie such an ideal interpreter of Muhly’s music is that he and Muhly share not just an understanding of the capabilities of the pipe organ as a musical instrum      </description>
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      <content:encoded><![CDATA[James McVinnie’s Cycles comprises thirteen organ pieces by labelmate and composer Nico Muhly. Performing the pieces in addition to McVinnie are Nadia Sirota, Chris Thompson and Simon Wall.

McVinnie is neither a stranger to Muhly’s music nor the label’s output, having collaborated closely with its artists in recent years. What makes McVinnie such an ideal interpreter of Muhly’s music is that he and Muhly share not just an understanding of the capabilities of the pipe organ as a musical instrument, but also an equally deep understanding of, and even affection for, its limitations.

McVinnie speaks eloquently on behalf of his instrument’s potential. “The organ is like a grand symphony orchestra controlled by one person manning a series of keyboards and pedals, stops and buttons. On the one hand, an organ can imitate orchestral instruments—the ardent string section of an orchestra, a lyrical clarinet, a French horn, timpani—and on the other, it has its own indigenous magisterial voice. Organs are built to speak into specific acoustic spaces. When you play, it’s as if you’re playing the whole building you’re in, which often can be electrifying.” And the organ as an instrument is tied to centuries of liturgical practice, capable of supporting or imitating a church choir with a solemnity few others could hope to summon. McVinnie is quick to point out, however, that the organ is also “the ultimate and original synthesizer”—and it is nothing if not a mechanical, wind-powered synthesizer, with all of the uncanny falseness that that word implies.

Much of Muhly’s work aspires to a kind of pop-art superflatness. The organ’s mechanical sound, its resistance to subtle dynamics, work perfectly with this tendency in Muhly’s music—particularly filtered through McVinnie’s subtle registrations, the combinations of stops pulled out to create each timbre. For instance, in Muhly’s prelude for their mutual friend, the Rev. James Mustard, McVinnie gives the slow-moving harmonies a breathy warmth, but it’s through a sparkling, crystalline pane of arpeggios.

The symphonic, the acoustic, the sacred, the synthetic: there’s a little of each in every one of these pieces, and sometimes more than a little.

Muhly’s Slow Twitchy Organs pairs the organ with viola and percussion, but on this recording, the space is as much of an instrument as the pipes are. It sounds warm and grand and alive; it sounds like an ambient work for reverb-soaked synths; it sounds like a prayer. It is, in fact, all of the above. 
]]></content:encoded>

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      <title>Nadia Sirota : Baroque - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/baroque-19</link>      <description>
                There is no Bach on Baroque; no Handel, Telemann or Vivaldi. This is the music of the 21st Century, not the 17th, and the composers are violist Nadia Sirota’s friends—who just happen to include some of the most respected musicians of our own moment.

The six pieces on Baroque were written with Sirota’s distinctive sound in mind and recorded (by her longtime collaborators at Bedroom Community) to exaggerate the idiosyncracies of her tone. Fellow labelmates Nico Muhly, Daníel Bjarnason and Paul       </description>
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      <content:encoded><![CDATA[There is no Bach on Baroque; no Handel, Telemann or Vivaldi. This is the music of the 21st Century, not the 17th, and the composers are violist Nadia Sirota’s friends—who just happen to include some of the most respected musicians of our own moment.

The six pieces on Baroque were written with Sirota’s distinctive sound in mind and recorded (by her longtime collaborators at Bedroom Community) to exaggerate the idiosyncracies of her tone. Fellow labelmates Nico Muhly, Daníel Bjarnason and Paul Corley provide three pieces, while composers Judd Greenstein, Shara Worden and Missy Mazzoli provide the other three.

Baroque , as the title of the album, references a number of things; the concerto form - balancing a soloist against ensemble accompaniment - is an invention of the Baroque era, so while there are concerti here, of a sort, they’re concerti of a decidedly more portable variety. Both Judd Greenstein’s “In Teaching Others We Teach Ourselves”, whose intimate ensemble accompaniment opens the album with a different paradigm of “solo” versus “tutti” than more famous efforts in the form, and the self-aware symphonics of Daníel Bjarnason’s

“Sleep Variations”, which closes the disc, build Sirota’s virtual backup band from the overdubbed sound of her own playing. There’s also something very Baroque about the style of pieces like “From the Invisible to the Visible”, by Shara Worden (Clogs, My Brightest Diamond), and “Tooth and Nail” by Missy Mazzoli, two radically different pieces that are both about the elaborate ornamentation of slowly moving harmonies.

Sirota’s approach to the instrument owes something to recent trends in Baroque playing. She can keep her bow-hand light and her left hand still, for a gin-dry sound. It’s a sound prized by, among others, Nico Muhly who thinks of Sirota as his most trusted interpreter—another reason being the sort of rhythmic precision his “Étude 3” demands, with an almost wicked glee. Paul Corley creates a piece to which timbre is so central that the voice of Sirota’s instrument seems as much a part of the composition as the notes she plays. His “Tristan da Cunha”—dark, extreme, and alarmingly detailed—is “Baroque” in the sense of “Brueghel-esque.”

Which leads us to the one thing all of these pieces have in common: that level of detail. Words like “complex,” applied to music, too often suggest a level of intricacy designed to confound, whereas each of the works Sirota brings together here offers an audible clarity of purpose. So let’s instead say that these works—to whatever extent they may recall the Baroque—are instead exquisitely baroque, each concerto, miniature or soundscape realized with extravagant intricacy.]]></content:encoded>

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      <title>Nico Muhly : Drones - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/drones-14</link>      <description>
                I started writing the Drones pieces as a method of developing harmonic ideas over a static structure. The idea is something not unlike singing along with one’s vacuum cleaner, or with the subtle but constant humming found in most dwelling-places. We surround ourselves with constant noise, and the Drones pieces are an attempt to honor these drones and stylize them. -Nico Muhly

---

Drones consists of the Nico Muhly’s three EP’s Drones &amp; Piano, Drones &amp; Viola and Drones &amp; Violin, with a speci      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[I started writing the Drones pieces as a method of developing harmonic ideas over a static structure. The idea is something not unlike singing along with one’s vacuum cleaner, or with the subtle but constant humming found in most dwelling-places. We surround ourselves with constant noise, and the Drones pieces are an attempt to honor these drones and stylize them. -Nico Muhly

---

Drones consists of the Nico Muhly’s three EP’s Drones & Piano, Drones & Viola and Drones & Violin, with a special bonus composition. Performing the pieces are Bruce Brubaker, Nadia Sirota and Pekka Kuusisto along with Muhly himself. Drones was recorded and produced by Valgeir Sigurðsson in the Greenhouse studios in Iceland.]]></content:encoded>

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    <item>

      <title>Ben Frost : The Wasp Factory - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/the-wasp-factory-0</link>      <description>
                In advance of new music from Ben Frost in 2017, Bedroom Community is excited to present the definitive recorded version of his 2013 opera and directorial stage debut, The Wasp Factory, based on the novel by the late Iain Banks.

Setting his unwitting characters against the backdrop of vast, implacable forces of nature—storm, sea, fire, and even their own madness— Frost reaches deep into his formidable arsenal to reveal an unexpected warmth, from the composer of electronic experiments like AURO      </description>
      <guid isPermaLink="false">117649730710142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[In advance of new music from Ben Frost in 2017, Bedroom Community is excited to present the definitive recorded version of his 2013 opera and directorial stage debut, The Wasp Factory, based on the novel by the late Iain Banks.

Setting his unwitting characters against the backdrop of vast, implacable forces of nature—storm, sea, fire, and even their own madness— Frost reaches deep into his formidable arsenal to reveal an unexpected warmth, from the composer of electronic experiments like AURORA and Theory of Machines. The focus here is on the live sound of the Reykjavík Sinfonia, recorded in Abbey Road’s Studio II and, for the first time, the human voice. He sets David Pountney's Libretto to tuneful, even soulful vocal lines; an extraordinarily unreliable narrator describing scenes of extreme violence and horror in music of incongruous loveliness.

Rather than attempt to represent his protagonist onstage with a singing, acting boy, Frost infamously cast an ensemble of 3 women to give voice to his dissociated internal monologues: Lieselot De Wilde, Jördis Richter and Wildbirds & Peacedrums' own Mariam Wallentin. And just as he did with the highly detailed instrumental writing on his albums like AURORA or Sólaris (composed with Daníel Bjarnason), here Frost creates a seamless collaboration of performer and interpreter, each singer and each player fully and sensitively inhabiting their respective nuanced parts. And the recorded result defiantly stands apart from the realm of traditionally “classical recordings”, framing in the highest definition every moment of this studio performance - the confrontationally close breath of strings and vocalist alike push and pull against a range of digital shapes and textures.

The Wasp Factory is not too far from those albums in terms of continuity with Frost's thematic obsessions. Like Sólaris, which was inspired by another so-called "sci-fi" novelist's literary masterpiece, The Wasp Factory asks what it means to be a human being, and what happens when that human being gets lost in the labyrinth of his own psyche. And like AURORA, and By the Throat, it asks where—and whether—the boundary can be drawn separating the human animal from the terrible, destructive brutality of nature. 
]]></content:encoded>

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    <item>

      <title>Ben Frost : The Wasp Factory (Clear vinyl) - 12&quot; Vinyl Album (Clear vinyl)</title>
      <link>https://bedroomcommunity.greedbag.com/buy/the-wasp-factory-0</link>      <description>
                In advance of new music from Ben Frost in 2017, Bedroom Community is excited to present the definitive recorded version of his 2013 opera and directorial stage debut, The Wasp Factory, based on the novel by the late Iain Banks.

Setting his unwitting characters against the backdrop of vast, implacable forces of nature—storm, sea, fire, and even their own madness— Frost reaches deep into his formidable arsenal to reveal an unexpected warmth, from the composer of electronic experiments like AURO      </description>
      <guid isPermaLink="false">117649731160142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[In advance of new music from Ben Frost in 2017, Bedroom Community is excited to present the definitive recorded version of his 2013 opera and directorial stage debut, The Wasp Factory, based on the novel by the late Iain Banks.

Setting his unwitting characters against the backdrop of vast, implacable forces of nature—storm, sea, fire, and even their own madness— Frost reaches deep into his formidable arsenal to reveal an unexpected warmth, from the composer of electronic experiments like AURORA and Theory of Machines. The focus here is on the live sound of the Reykjavík Sinfonia, recorded in Abbey Road’s Studio II and, for the first time, the human voice. He sets David Pountney's Libretto to tuneful, even soulful vocal lines; an extraordinarily unreliable narrator describing scenes of extreme violence and horror in music of incongruous loveliness.

Rather than attempt to represent his protagonist onstage with a singing, acting boy, Frost infamously cast an ensemble of 3 women to give voice to his dissociated internal monologues: Lieselot De Wilde, Jördis Richter and Wildbirds & Peacedrums' own Mariam Wallentin. And just as he did with the highly detailed instrumental writing on his albums like AURORA or Sólaris (composed with Daníel Bjarnason), here Frost creates a seamless collaboration of performer and interpreter, each singer and each player fully and sensitively inhabiting their respective nuanced parts. And the recorded result defiantly stands apart from the realm of traditionally “classical recordings”, framing in the highest definition every moment of this studio performance - the confrontationally close breath of strings and vocalist alike push and pull against a range of digital shapes and textures.

The Wasp Factory is not too far from those albums in terms of continuity with Frost's thematic obsessions. Like Sólaris, which was inspired by another so-called "sci-fi" novelist's literary masterpiece, The Wasp Factory asks what it means to be a human being, and what happens when that human being gets lost in the labyrinth of his own psyche. And like AURORA, and By the Throat, it asks where—and whether—the boundary can be drawn separating the human animal from the terrible, destructive brutality of nature. 
]]></content:encoded>

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                  <g:adult>no</g:adult>
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    <item>

      <title>Paul Corley : Disquiet - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/disquiet-10</link>      <description>
                Disquiet is the debut album of American composer, sound recordist and engineer Paul Corley.

Disquiet is music that never settles. Music that makes the listener fiercely attentive to the present, to the very idea of listening. It takes some doing, and some patience, to produce an atmosphere so unearthly and yet so radiant, to organise fragmented - sometimes found - sounds into such sparse, sustained and spiritual coherence. As we listen to Corley listening to himself listen and seek a fixed ge      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[Disquiet is the debut album of American composer, sound recordist and engineer Paul Corley.

Disquiet is music that never settles. Music that makes the listener fiercely attentive to the present, to the very idea of listening. It takes some doing, and some patience, to produce an atmosphere so unearthly and yet so radiant, to organise fragmented - sometimes found - sounds into such sparse, sustained and spiritual coherence. As we listen to Corley listening to himself listen and seek a fixed genre point for this music, we perhaps rub together glitch, drone, sound art, post rock and alt-classical, and an as yet unspecified genre called ‘hazard a guess’, and then employ our own discretion.

Although Disquiet is Paul Corley’s first album on Bedroom Community, he is no stranger to the label. Having collaborated extensively with the Bedroom Community collective since 2007, the label is proud to add Corley to the intimate roster that now comprises of seven highly original artists. Disquiet is a welcome addition to the catalogue; at the same time an album of delicate, primal (prepared) piano variations, a sequence of exquisitely reflective slow songs, and a metaphysical field recording where resonances are set off by real and imaginary geographical features. The album seems to be the recording of a dream, not necessarily Corley’s own, as if he slipped into the mind of someone asleep and calmly set up his equipment. Disquiet suggests a walk through an icy wasteland under a darkening sky, with unspecified creatures lurking at the edge of vision, a drifting walk that ends in the shadows of a vaguely familiar deserted city. Some might discern in the distance the footsteps of Morton Feldman who has once passed nearby or is about to, or might spot some wires discarded by Chris Watson and a question or two written into the sand by Anton Webern.

When asked whether this is music representing something coming into being - a growing in confidence or something dissolving into deep, equivocal quiet beyond which there is only space - the answer is simple, yet complex. “Both at the same time,” Corley replies - somewhere between hazarding a guess, and knowing for sure. 
]]></content:encoded>

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    <item>

      <title>Valgeir Sigurðsson : Architecture Of Loss - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/architecture-of-loss-9</link>      <description>
                The parameters of musical possibility are vast on Valgeir Sigurðsson’s third LP; Architecture of Loss. The music flows from no “notes” at all to lyrical, folk-like melody, from spare, acoustic sound to dense digital intervention. Originally composed for the same titled ballet by Stephen Petronio. Architecture of Loss is a powerful work in its own right in which Valgeir works from a broad palette of absences.

By deploying an array of digital processes, a small, flexible ensemble and pared- dow      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[The parameters of musical possibility are vast on Valgeir Sigurðsson’s third LP; Architecture of Loss. The music flows from no “notes” at all to lyrical, folk-like melody, from spare, acoustic sound to dense digital intervention. Originally composed for the same titled ballet by Stephen Petronio. Architecture of Loss is a powerful work in its own right in which Valgeir works from a broad palette of absences.

By deploying an array of digital processes, a small, flexible ensemble and pared- down musical materials, the music can pivot instantly into someplace radically different. The viola hangs onto a single note, for instance, then transforms that note into a scraping, rasping effect. That transformation from pure tone to pure gesture ripples through the fiddle’s electronic multiples until the whole texture has turned inside out; a spare, sputtering, abstract electronic beat yields to the shaggy sounds of a few live drums or vice versa. The result is what sounds like a completely different piece of music.

The performers were handpicked from trusted Bedroom Community regulars: in addition to Valgeir himself and composer/keyboardist Nico Muhly, the album features violist Nadia Sirota - her sound is as deeply individual and immediately recognizable as the sound of her speaking voice and takes full possession of the notes on the page—and multi-instrumentalist Shahzad Ismaily - a secret weapon of a sideman who excels at exactly the things you can’t put down on paper, from solid grooves to scribbles of noise.

The resulting piece maintains a structural unity surpassing either of Valgeir’s previous, more formally open LPs. While his solo debut Ekvílibríum boasted singers like Bonnie ‘Prince’ Billy and Dawn McCarthy, the voice of that record was unmistakably Valgeir’s own. On his second solo disc - the soundtrack to the film Draumalandið - the suite of movements released on disc enjoyed an aesthetic life of its own independent of the finished film. Draumalandið and Ekvílibríum were allowed to develop freely as recording projects whereas Architecure of Loss had to be realized with physical performance in mind, by its players and dancers.

This album represents the piece as conceived and reconceived for the stage, and then reconceived again as pure music (the movement “Gone, Not Forgotten,” for instance, is exclusive to this recording). Created, pored over and developed: the result is a meticulously designed structure, a sound architecture of musical and physical gestures and stillnesses.]]></content:encoded>

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    <item>

      <title>Valgeir Sigurðsson : Architecture Of Loss - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/architecture-of-loss-9</link>      <description>
                The parameters of musical possibility are vast on Valgeir Sigurðsson’s third LP; Architecture of Loss. The music flows from no “notes” at all to lyrical, folk-like melody, from spare, acoustic sound to dense digital intervention. Originally composed for the same titled ballet by Stephen Petronio. Architecture of Loss is a powerful work in its own right in which Valgeir works from a broad palette of absences.

By deploying an array of digital processes, a small, flexible ensemble and pared- dow      </description>
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      <content:encoded><![CDATA[The parameters of musical possibility are vast on Valgeir Sigurðsson’s third LP; Architecture of Loss. The music flows from no “notes” at all to lyrical, folk-like melody, from spare, acoustic sound to dense digital intervention. Originally composed for the same titled ballet by Stephen Petronio. Architecture of Loss is a powerful work in its own right in which Valgeir works from a broad palette of absences.

By deploying an array of digital processes, a small, flexible ensemble and pared- down musical materials, the music can pivot instantly into someplace radically different. The viola hangs onto a single note, for instance, then transforms that note into a scraping, rasping effect. That transformation from pure tone to pure gesture ripples through the fiddle’s electronic multiples until the whole texture has turned inside out; a spare, sputtering, abstract electronic beat yields to the shaggy sounds of a few live drums or vice versa. The result is what sounds like a completely different piece of music.

The performers were handpicked from trusted Bedroom Community regulars: in addition to Valgeir himself and composer/keyboardist Nico Muhly, the album features violist Nadia Sirota - her sound is as deeply individual and immediately recognizable as the sound of her speaking voice and takes full possession of the notes on the page—and multi-instrumentalist Shahzad Ismaily - a secret weapon of a sideman who excels at exactly the things you can’t put down on paper, from solid grooves to scribbles of noise.

The resulting piece maintains a structural unity surpassing either of Valgeir’s previous, more formally open LPs. While his solo debut Ekvílibríum boasted singers like Bonnie ‘Prince’ Billy and Dawn McCarthy, the voice of that record was unmistakably Valgeir’s own. On his second solo disc - the soundtrack to the film Draumalandið - the suite of movements released on disc enjoyed an aesthetic life of its own independent of the finished film. Draumalandið and Ekvílibríum were allowed to develop freely as recording projects whereas Architecure of Loss had to be realized with physical performance in mind, by its players and dancers.

This album represents the piece as conceived and reconceived for the stage, and then reconceived again as pure music (the movement “Gone, Not Forgotten,” for instance, is exclusive to this recording). Created, pored over and developed: the result is a meticulously designed structure, a sound architecture of musical and physical gestures and stillnesses.]]></content:encoded>

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                  <g:adult>no</g:adult>
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    <item>

      <title>Ben Frost &amp; Daníel Bjarnason : Sólaris - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/slaris-8</link>      <description>
                Ben Frost and Daníel Bjarnason are two composers used to shrugging off the distinction between experimental sound-art and deeply felt melodies. Frost’s vast, blackened post-industrial works often crystallize in moments of quiet beauty before disintegrating in pure visceral noise; Bjarnason’s orchestral music marries brutal modernism to classical aesthetics one moment and soaring ethereal harmonies the next. And yet here, on the tail of two widely acclaimed releases; Bjarnason’s PROCESSIONS and       </description>
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      <content:encoded><![CDATA[Ben Frost and Daníel Bjarnason are two composers used to shrugging off the distinction between experimental sound-art and deeply felt melodies. Frost’s vast, blackened post-industrial works often crystallize in moments of quiet beauty before disintegrating in pure visceral noise; Bjarnason’s orchestral music marries brutal modernism to classical aesthetics one moment and soaring ethereal harmonies the next. And yet here, on the tail of two widely acclaimed releases; Bjarnason’s PROCESSIONS and Frost’s BY THE THROAT, we are given something altogether new. A unique collaboration, SÓLARIS is a quiet, stilled and all consuming symphonic suite at once as affecting and uncanny as the science- fiction classic that inspired it.

The power of Andrei Tarkovsky’s Solaris is not in its futuristic sets, or in the hypnotic shots of the alien planet’s weird, fluid surface, but it’s in the way he juxtaposes his alien, futuristic elements against the intimately familiar. This is a future not just of flashing lights and video screens, but of wood and wool and leather, of dogs and horses, books and photographs. In Frost & Bjarnason’s SÓLARIS we do find the futuristic, gaseous atmospheres and pulses one might expect from a sci-fi soundtrack. Yet here they are carved instead from the warm, fragile sonorities of a string orchestra -Poland’s Sinfonietta Cracovia- a gently prepared piano whose harmonies warp and melt before transforming again—and waves upon waves of guitar.

Created through a unique series of processes, Frost & Bjarnason’s initial sketches —improvised to the film— were fed through software designed to correct music which tried to turn their dense and distorted sonic input into a digital sequence of raw musical data. Working from data riddled with error and misunderstanding, a human score was orchestrated; the whole process deftly mirroring the core of the film’s own narrative of memory and loss, alien doppelgängers and emotional feedback loops. Brian Eno —who consulted closely in the creation of SÓLARIS— also used the same film to create a video accompaniment to this music in another strange loop of computer-generated distortion.

But here the score stands on its own. SÓLARIS; a journey into an internal world, into the self, a flux of wonder, horror, sorrow and tenderness, and a ravishing sensory experience.
]]></content:encoded>

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      <title>Ben Frost &amp; Daníel Bjarnason : Sólaris - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/slaris-8</link>      <description>
                Ben Frost and Daníel Bjarnason are two composers used to shrugging off the distinction between experimental sound-art and deeply felt melodies. Frost’s vast, blackened post-industrial works often crystallize in moments of quiet beauty before disintegrating in pure visceral noise; Bjarnason’s orchestral music marries brutal modernism to classical aesthetics one moment and soaring ethereal harmonies the next. And yet here, on the tail of two widely acclaimed releases; Bjarnason’s PROCESSIONS and       </description>
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      <category>Music</category>

      <content:encoded><![CDATA[Ben Frost and Daníel Bjarnason are two composers used to shrugging off the distinction between experimental sound-art and deeply felt melodies. Frost’s vast, blackened post-industrial works often crystallize in moments of quiet beauty before disintegrating in pure visceral noise; Bjarnason’s orchestral music marries brutal modernism to classical aesthetics one moment and soaring ethereal harmonies the next. And yet here, on the tail of two widely acclaimed releases; Bjarnason’s PROCESSIONS and Frost’s BY THE THROAT, we are given something altogether new. A unique collaboration, SÓLARIS is a quiet, stilled and all consuming symphonic suite at once as affecting and uncanny as the science- fiction classic that inspired it.

The power of Andrei Tarkovsky’s Solaris is not in its futuristic sets, or in the hypnotic shots of the alien planet’s weird, fluid surface, but it’s in the way he juxtaposes his alien, futuristic elements against the intimately familiar. This is a future not just of flashing lights and video screens, but of wood and wool and leather, of dogs and horses, books and photographs. In Frost & Bjarnason’s SÓLARIS we do find the futuristic, gaseous atmospheres and pulses one might expect from a sci-fi soundtrack. Yet here they are carved instead from the warm, fragile sonorities of a string orchestra -Poland’s Sinfonietta Cracovia- a gently prepared piano whose harmonies warp and melt before transforming again—and waves upon waves of guitar.

Created through a unique series of processes, Frost & Bjarnason’s initial sketches —improvised to the film— were fed through software designed to correct music which tried to turn their dense and distorted sonic input into a digital sequence of raw musical data. Working from data riddled with error and misunderstanding, a human score was orchestrated; the whole process deftly mirroring the core of the film’s own narrative of memory and loss, alien doppelgängers and emotional feedback loops. Brian Eno —who consulted closely in the creation of SÓLARIS— also used the same film to create a video accompaniment to this music in another strange loop of computer-generated distortion.

But here the score stands on its own. SÓLARIS; a journey into an internal world, into the self, a flux of wonder, horror, sorrow and tenderness, and a ravishing sensory experience.
]]></content:encoded>

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                  <g:adult>no</g:adult>
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    <item>

      <title>Puzzle Muteson : En Garde - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/en-garde-19</link>      <description>
                Bedroom Community broadens the scope with En Garde by Puzzle Muteson, a mysterious, intimate record by a fearless songwriter and lyricist from the windswept Isle of Wight.

Arranged and produced by collaborators and labelmates Nico Muhly and Valgeir Sigurðsson, En Garde is a strange, comforting and alarmingly personal record. Driven, spare lyrics are hoisted high by vocals of steady, sturdy tremble. Each tune swells with plush guitar pluck in a sea of orchestration and electronics. Recorded in      </description>
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      <content:encoded><![CDATA[Bedroom Community broadens the scope with En Garde by Puzzle Muteson, a mysterious, intimate record by a fearless songwriter and lyricist from the windswept Isle of Wight.

Arranged and produced by collaborators and labelmates Nico Muhly and Valgeir Sigurðsson, En Garde is a strange, comforting and alarmingly personal record. Driven, spare lyrics are hoisted high by vocals of steady, sturdy tremble. Each tune swells with plush guitar pluck in a sea of orchestration and electronics. Recorded in the Greenhouse Studios in Iceland, the album collects Puzzle Muteson’s odd and beautiful stories - about love and horses; rust and polar bears; heartbreak and birds.

Puzzle’s songs are curious sounds from a troubled heart and his lyrics are urgent and open, striking a note with their vulnerable memories. “I Was Once A Horse” is an unforgettable song about nostalgia. The first single and title track, “En Garde”, pits Puzzle’s longing against waves of dense strings and jagged rhythm, while “Perspex Disguise” sets his naked, translucent vocals against shimmering piano that refracts off epic chords. In “Flamingo Head” he sings; “I left your house. You let me. I left you ugly”, buffeted by guitar and distant murmurs. “Not a single thing could take this magical sight. I’ll find you still”, he sings in “Medusa”, the story of a man tracking down a lost love.

En Garde takes an unexpected and unique voice and elevates it out of any easily discernible pocket. Puzzle Muteson could be “folk” or something completely different - instead he’s an intense stranger from the Isle of Wight - at once both familiar and unfamiliar. En Garde heralds a haunting and essential new voice, beautiful, earned and yearning.

]]></content:encoded>

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                  <g:adult>no</g:adult>
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    <item>

      <title>Puzzle Muteson : En Garde - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/en-garde-19</link>      <description>
                Bedroom Community broadens the scope with En Garde by Puzzle Muteson, a mysterious, intimate record by a fearless songwriter and lyricist from the windswept Isle of Wight.

Arranged and produced by collaborators and labelmates Nico Muhly and Valgeir Sigurðsson, En Garde is a strange, comforting and alarmingly personal record. Driven, spare lyrics are hoisted high by vocals of steady, sturdy tremble. Each tune swells with plush guitar pluck in a sea of orchestration and electronics. Recorded in      </description>
      <guid isPermaLink="false">117649759020142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Bedroom Community broadens the scope with En Garde by Puzzle Muteson, a mysterious, intimate record by a fearless songwriter and lyricist from the windswept Isle of Wight.

Arranged and produced by collaborators and labelmates Nico Muhly and Valgeir Sigurðsson, En Garde is a strange, comforting and alarmingly personal record. Driven, spare lyrics are hoisted high by vocals of steady, sturdy tremble. Each tune swells with plush guitar pluck in a sea of orchestration and electronics. Recorded in the Greenhouse Studios in Iceland, the album collects Puzzle Muteson’s odd and beautiful stories - about love and horses; rust and polar bears; heartbreak and birds.

Puzzle’s songs are curious sounds from a troubled heart and his lyrics are urgent and open, striking a note with their vulnerable memories. “I Was Once A Horse” is an unforgettable song about nostalgia. The first single and title track, “En Garde”, pits Puzzle’s longing against waves of dense strings and jagged rhythm, while “Perspex Disguise” sets his naked, translucent vocals against shimmering piano that refracts off epic chords. In “Flamingo Head” he sings; “I left your house. You let me. I left you ugly”, buffeted by guitar and distant murmurs. “Not a single thing could take this magical sight. I’ll find you still”, he sings in “Medusa”, the story of a man tracking down a lost love.

En Garde takes an unexpected and unique voice and elevates it out of any easily discernible pocket. Puzzle Muteson could be “folk” or something completely different - instead he’s an intense stranger from the Isle of Wight - at once both familiar and unfamiliar. En Garde heralds a haunting and essential new voice, beautiful, earned and yearning.

]]></content:encoded>

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                  <g:adult>no</g:adult>
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    <item>

      <title>Nico Muhly : I Drink The Air Before Me - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/i-drink-the-air-before-me-5</link>      <description>
                &quot; I Drink the Air Before Me is an evening-length score for Stephen Petronio&apos;s dance piece bearing the same name.  Inasmuch as it was celebrating Stephen&apos;s company&apos;s 25th anniversary, the piece wanted to be big, ecstatic, and celebratory. Our initial meeting, in which we discussed the structure of the work, yielded a sketch: a giant line, starting at the lower left hand side of a napkin, and ending in the upper right.  Start small, get big!  The rules: a children&apos;s choir should begin and end the       </description>
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      <content:encoded><![CDATA[" I Drink the Air Before Me is an evening-length score for Stephen Petronio's dance piece bearing the same name.  Inasmuch as it was celebrating Stephen's company's 25th anniversary, the piece wanted to be big, ecstatic, and celebratory. Our initial meeting, in which we discussed the structure of the work, yielded a sketch: a giant line, starting at the lower left hand side of a napkin, and ending in the upper right.  Start small, get big!  The rules: a children's choir should begin and end the piece.  The work should relate to the weather: storms, anxiety, and coastal living.  A giant build-up should land us inside the center of a storm, with whirling, irregular, spiral-shaped music and irregular, spiral-shaped dancing.  Using these rules, I divided up the piece into a series of episodes all hinging around spiral-shaped constellations of notes.  These are most audible in Music Under Pressure 3, and least audible when they are absent, in the diatonic, almost plainchant music that the choir sings at the end, the text of which comes from Psalm 19:

One day tells its tale to another, 
and one night imparts knowledge to another.
Although they have no words or language, 
and their voices are not heard,
Their sound has gone out into all lands, 
and their message to the ends of the world.

I wanted the ensemble to be a little quirky community of people living by the edge of the sea: a busybody flute, a wise viola, and the masculine, workmanlike bassoon, trombone, and upright bass.  The piano acts as an agitator, an unwelcome visitor, bearing with it aggressive electronic noises and rhythmic interruptions.  "

Nico Muhly]]></content:encoded>

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    <item>

      <title>Sam Amidon : I See The Sign - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/i-see-the-sign-2</link>      <description>
                Have you heard of Bessie Jones? She was from North Carolina, but she married a guy from the Georgia Sea Islands and moved there as a young woman. She sang many songs that she had heard growing up, but she also learned the children&apos;s singing-game songs on the Islands and sang them with the kids: Way Go Lily and Johanna the Row-di. She played tambourine like Tony Williams played his ride cymbal. She sang low and gravelly.  Her tambourine playing is the best rhythms ever. Thanks to my parents for s      </description>
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      <content:encoded><![CDATA[Have you heard of Bessie Jones? She was from North Carolina, but she married a guy from the Georgia Sea Islands and moved there as a young woman. She sang many songs that she had heard growing up, but she also learned the children's singing-game songs on the Islands and sang them with the kids: Way Go Lily and Johanna the Row-di. She played tambourine like Tony Williams played his ride cymbal. She sang low and gravelly.  Her tambourine playing is the best rhythms ever. Thanks to my parents for singing her songs for me when I was growing up, and to Beth and Shahzad for singing them with me here.

It would behoove you to listen to a lot more Sonny Rollins. The "deep breath and soft sweep" of his tone, and the hermetic ordering of his melodies and phrasing can have a positive effect on the electrical charges in the human body. So why are you waiting to listen to his music?

Some of the other words and melodies are from other places. I originally learned Climbing High Mountains from Lucy Simpson. Have you read Lulu in Hollywood by Louise Brooks? Do you see the sign? —Sam 
]]></content:encoded>

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                  <g:adult>no</g:adult>
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    <item>

      <title>Valgeir Sigurðsson : Draumalandið - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/draumalandi-2</link>      <description>
                Valgeir Sigurðsson has made his name as an exponent of musical subtlety. As an engineer and producer, he&apos;s often focused on the intimate, the miniature. On his solo debut Ekvílibríum, his songwriting and composition tended towards the muted or the oblique. His best-known work is punctuated with question marks and ellipses, and not so many exclamation points.
But this is only one side of his musical capabilites. Draumalandið (“Dreamland”), a documentary about the exploitation of Iceland&apos;s natura      </description>
      <guid isPermaLink="false">117629396530142</guid>
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      <content:encoded><![CDATA[Valgeir Sigurðsson has made his name as an exponent of musical subtlety. As an engineer and producer, he's often focused on the intimate, the miniature. On his solo debut Ekvílibríum, his songwriting and composition tended towards the muted or the oblique. His best-known work is punctuated with question marks and ellipses, and not so many exclamation points.
But this is only one side of his musical capabilites. Draumalandið (“Dreamland”), a documentary about the exploitation of Iceland's natural resources, tells a story about huge things—the fortunes of a whole nation; the destruction of vast landscapes; and the global economic forces, greater still than any nation, that fuel it all—and for his soundtrack to the film, Valgeir has brought out a heavier set of tools. His entire roster of Bedroom Community labelmates contributes in some way to the creation of the score: classical composers Nico Muhly and Daníel Bjarnason, industrial wizard Ben Frost, and American folksinger Sam Amidon, along with a host of others, and the small orchestra assembled for the record swells from moments of expansive beauty into massive, surging symphonic force. Its harmonies are anxious, pulsing, driven.
Not that this is an album lacking in subtlety. Draumalandið the film takes on the delicate task of unmasking the apparent win/win proposition of Iceland's aluminum smelting boom—clean energy! new jobs! economic growth!—as a false blessing with very real consequences. Likewise, Draumalandið the soundtrack takes global, at times seemingly abstract questions, and offers deeply personal responses.
Valgeir's score makes fierce and direct statements of sorrow and indignation, but it also expresses, with a kind of hushed awe, the beauty of landscapes on the brink of devastation, and the seductive shimmer of the illusions that imperil them. Tender, fragmented melodies rise out of uncanny musical textures; in the album's opening track, Sam sings “Grýlukvæði,” an Icelandic folktune about a greedy hag come to devour naughty children, just as he would an Appalachian ballad, and in turn Valgeir reframes it as a sad, sympathetic reprimand to a people (Icelanders, yes, but by extension all of humanity) who would sell their birthright to a rapacious multinational.
This is all painted in brushstrokes broad and minute, from palette of hugely varied shades—Sam's banjo playing, Daníel's John Cage-style piano treatments, Ben's halos of distortion—but somehow, it all fits together as a coherent musical argument. Heard as an accompaniment to the film, the Draumalandið score can disappear into the images and the narrative. Listened to on its own, it rewards close attention: for the subtle interconnections between the movements, for their cumulative emotional force, and simply as a series of meticulously scored and recorded musical moments, urgent meditations on the natural sublime. 
]]></content:encoded>

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      <title>Valgeir Sigurðsson : Draumalandið - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/draumalandi-2</link>      <description>
                Valgeir Sigurðsson has made his name as an exponent of musical subtlety. As an engineer and producer, he&apos;s often focused on the intimate, the miniature. On his solo debut Ekvílibríum, his songwriting and composition tended towards the muted or the oblique. His best-known work is punctuated with question marks and ellipses, and not so many exclamation points.
But this is only one side of his musical capabilites. Draumalandið (“Dreamland”), a documentary about the exploitation of Iceland&apos;s natura      </description>
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      <content:encoded><![CDATA[Valgeir Sigurðsson has made his name as an exponent of musical subtlety. As an engineer and producer, he's often focused on the intimate, the miniature. On his solo debut Ekvílibríum, his songwriting and composition tended towards the muted or the oblique. His best-known work is punctuated with question marks and ellipses, and not so many exclamation points.
But this is only one side of his musical capabilites. Draumalandið (“Dreamland”), a documentary about the exploitation of Iceland's natural resources, tells a story about huge things—the fortunes of a whole nation; the destruction of vast landscapes; and the global economic forces, greater still than any nation, that fuel it all—and for his soundtrack to the film, Valgeir has brought out a heavier set of tools. His entire roster of Bedroom Community labelmates contributes in some way to the creation of the score: classical composers Nico Muhly and Daníel Bjarnason, industrial wizard Ben Frost, and American folksinger Sam Amidon, along with a host of others, and the small orchestra assembled for the record swells from moments of expansive beauty into massive, surging symphonic force. Its harmonies are anxious, pulsing, driven.
Not that this is an album lacking in subtlety. Draumalandið the film takes on the delicate task of unmasking the apparent win/win proposition of Iceland's aluminum smelting boom—clean energy! new jobs! economic growth!—as a false blessing with very real consequences. Likewise, Draumalandið the soundtrack takes global, at times seemingly abstract questions, and offers deeply personal responses.
Valgeir's score makes fierce and direct statements of sorrow and indignation, but it also expresses, with a kind of hushed awe, the beauty of landscapes on the brink of devastation, and the seductive shimmer of the illusions that imperil them. Tender, fragmented melodies rise out of uncanny musical textures; in the album's opening track, Sam sings “Grýlukvæði,” an Icelandic folktune about a greedy hag come to devour naughty children, just as he would an Appalachian ballad, and in turn Valgeir reframes it as a sad, sympathetic reprimand to a people (Icelanders, yes, but by extension all of humanity) who would sell their birthright to a rapacious multinational.
This is all painted in brushstrokes broad and minute, from palette of hugely varied shades—Sam's banjo playing, Daníel's John Cage-style piano treatments, Ben's halos of distortion—but somehow, it all fits together as a coherent musical argument. Heard as an accompaniment to the film, the Draumalandið score can disappear into the images and the narrative. Listened to on its own, it rewards close attention: for the subtle interconnections between the movements, for their cumulative emotional force, and simply as a series of meticulously scored and recorded musical moments, urgent meditations on the natural sublime. 
]]></content:encoded>

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    <item>

      <title>Daníel Bjarnason : Processions - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/processions-2</link>      <description>
                Blurring the line between electronic and chamber music—a familiar style for the Icelandic Bedroom Community collective—the constructions of this recording’s emotional triggers are wholly unique. In Daníel Bjarnason&apos;s Processions, the composer marshals all the technical forces at his disposal to accomplish a musical goal rather than an ideological statement.

Daníel Bjarnason is &apos;the other classical composer&apos; on our label, a throne he now shares with the omnipresent Nico Muhly. Daníel and Nico       </description>
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      <content:encoded><![CDATA[Blurring the line between electronic and chamber music—a familiar style for the Icelandic Bedroom Community collective—the constructions of this recording’s emotional triggers are wholly unique. In Daníel Bjarnason's Processions, the composer marshals all the technical forces at his disposal to accomplish a musical goal rather than an ideological statement.

Daníel Bjarnason is 'the other classical composer' on our label, a throne he now shares with the omnipresent Nico Muhly. Daníel and Nico may both conjure their magic and craft via black dots on manuscript paper and swinging of the arms & upper-body, but their music is as fundamentally different from each other's as it is from that of Ben Frost or Sam Amidon. If anything else connects it—apart from allowing me to cast my own spell on it—it is that it is all brand-new; taking nothing as given while being fully informed of the past and the possibilities of now. As the fifth member of Bedroom Community, Daníel Bjarnason promises to share his bewitching alchemy with our troupe and our listeners.
—Valgeir Sigurðsson

Daníel Bjarnason’s music is so intelligently crafted, it makes you want to pause the concert every second and look at a score.  At the same time, the craft whizzes by organically, and you don’t have enough time to pause and contemplate.  His music is thoughtful without being overthought, and obsessive without being persnickety.  As an outsider in the Icelandic music scene, I've observed that Daníel is a musician trusted by all: he is just as happy and effective conducting the Icelandic opera as he is strolling down the street; one night, I saw him fidget with a new arrangement of All Sounds to Silence Come and then rush off to conduct a series of ecstatically huge arrangements for the band Hjaltalín. His album is just a small peek into the life of his mind.
—Nico Muhly


Bow to String, composed for multi-tracked cello, was written for Sæunn Þorsteinsdóttir. This is a piece that not only evokes feelings of tension or tenderness, it dares to signal them.  The unapologetically, relentlessly direct harmonic progression grounding “sorrow conquers happiness”and the melody singing out in the concluding “Air To Breath” lay themselves bare, inviting the audience into the score by demonstrating an awareness of emotion without crossing over into irony. The violently percussive performance techniques, the moments of ghostly timbre or asynchronous attack, are not there as commentary on the piece’s emotional vocabulary but as an extension thereof. 

Processions, Bjarnason’s second concerto written for pianist Víkingur Ólafsson, performs a similar balancing act of self-consciousness versus earnest appeal in both its genre and harmonies. True to the archetype of the concerto form, Processions begins with an extravagant statement; a statement Bjarnason takes to new heights in his thunderous exposition “In Medias Res.”  Its subsequent development recalls a traditional Slavic concerto, remarkable for its virtuosic elements and deeply earnest melodies. The propulsive rhythms of the last movement (“Red-Handed”), like the syncopations in "Bow to String", project a certain quasi-primitive energy reminiscent of electronic or rock music. 

"Skelja", a darker, more introspective score for harp and percussion, in a sense suggests what might remain behind if the comforts of form and more overt forms of expression were somehow extracted from Bow to String and Processions.  The dense texture of the electronic cello choir and the massed resources of the orchestra are replaced with the strict economy of a plucked and e-bowed harp.  But even here, glimpsed in the harp’s obscurity and the percussion’s subtle halos of color, the style of the composer, now introverted, persists. ]]></content:encoded>

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    <item>

      <title>Nico Muhly : Mothertongue - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/mothertongue-5</link>      <description>
                All Music composed by Nico Muhly.
©2008 St. Rose Music Publishing Co., Inc. (ASCAP).

Produced, Recorded &amp; Mixed by Valgeir Sigurðsson.

Programming by Valgeir Sigurðsson and Nico Muhly. Additional recording by Adam Thompson (voice in Mothertongue), &amp; Chris Thompson (field recording). Recorded at Looking Glass Studios, New York City (Christian Rutledge, manager) and Greenhouse Studios, Reykjavík (Sturla Þórisson, manager)

Interns, the spinal column of productivity:
Þobbi, Tobbi, Zakki,       </description>
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      <content:encoded><![CDATA[All Music composed by Nico Muhly.
©2008 St. Rose Music Publishing Co., Inc. (ASCAP).

Produced, Recorded & Mixed by Valgeir Sigurðsson.

Programming by Valgeir Sigurðsson and Nico Muhly. Additional recording by Adam Thompson (voice in Mothertongue), & Chris Thompson (field recording). Recorded at Looking Glass Studios, New York City (Christian Rutledge, manager) and Greenhouse Studios, Reykjavík (Sturla Þórisson, manager)

Interns, the spinal column of productivity:
Þobbi, Tobbi, Zakki, Paul, Rob & Leó

Artwork by Buchanan-Smith
Cover photograph by Michael Schmelling
“Iceland, 2003” photograph by Jason Frank Rothenberg

www.nicomuhly.com
www.bedroomcommunity.net]]></content:encoded>

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    <item>

      <title>Valgeir Sigurðsson : Ekvílibríum - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/ekvlibrum-3</link>      <description>
                Produced, Recorded &amp; Mixed by Valgeir Sigurðsson

Additional recording / studio assistant Sturla &apos;Míó&apos; Þórisson
Score preparation Nico Muhly
Mixed and mastered at Greenhouse Studios, Reykjavík
Recorded at Greenhouse Studios / various studios and random locations.
Thanks to everyone who provided a space!

Paintings by Merrilee Challiss
Image processing by Sturla &apos;Míó&apos; Þórisson
Portrait photograhy by Charlie Strand
Graphic design by Ritxi / www.iikki.com

Acknowledgments: Ben Frost -f      </description>
      <guid isPermaLink="false">117629168570142</guid>
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      <content:encoded><![CDATA[Produced, Recorded & Mixed by Valgeir Sigurðsson

Additional recording / studio assistant Sturla 'Míó' Þórisson
Score preparation Nico Muhly
Mixed and mastered at Greenhouse Studios, Reykjavík
Recorded at Greenhouse Studios / various studios and random locations.
Thanks to everyone who provided a space!

Paintings by Merrilee Challiss
Image processing by Sturla 'Míó' Þórisson
Portrait photograhy by Charlie Strand
Graphic design by Ritxi / www.iikki.com

Acknowledgments: Ben Frost -for listening, reﬂecting and pushing me. Sigga Sunna -fyrir hjartað og jafnvægið. Míó -fyrir allt, alltaf. Gabríel Dagur -ofurhetja. Nico -for the spark and mastery. Will Oldham -for encouraging and transcending. Stephen Budd & Jo Beckett -for the unconditional support. Björk -fyrir Fókus og innblástur. Fjölskylda, vinir, friends & collaborators through the years, everyone who contributed to this album: TAKK+THANK YOU!!!
license
]]></content:encoded>

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    <item>

      <title>Valgeir Sigurðsson : Ekvílibríum - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/ekvlibrum-3</link>      <description>
                Produced, Recorded &amp; Mixed by Valgeir Sigurðsson

Additional recording / studio assistant Sturla &apos;Míó&apos; Þórisson
Score preparation Nico Muhly
Mixed and mastered at Greenhouse Studios, Reykjavík
Recorded at Greenhouse Studios / various studios and random locations.
Thanks to everyone who provided a space!

Paintings by Merrilee Challiss
Image processing by Sturla &apos;Míó&apos; Þórisson
Portrait photograhy by Charlie Strand
Graphic design by Ritxi / www.iikki.com

Acknowledgments: Ben Frost -f      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[Produced, Recorded & Mixed by Valgeir Sigurðsson

Additional recording / studio assistant Sturla 'Míó' Þórisson
Score preparation Nico Muhly
Mixed and mastered at Greenhouse Studios, Reykjavík
Recorded at Greenhouse Studios / various studios and random locations.
Thanks to everyone who provided a space!

Paintings by Merrilee Challiss
Image processing by Sturla 'Míó' Þórisson
Portrait photograhy by Charlie Strand
Graphic design by Ritxi / www.iikki.com

Acknowledgments: Ben Frost -for listening, reﬂecting and pushing me. Sigga Sunna -fyrir hjartað og jafnvægið. Míó -fyrir allt, alltaf. Gabríel Dagur -ofurhetja. Nico -for the spark and mastery. Will Oldham -for encouraging and transcending. Stephen Budd & Jo Beckett -for the unconditional support. Björk -fyrir Fókus og innblástur. Fjölskylda, vinir, friends & collaborators through the years, everyone who contributed to this album: TAKK+THANK YOU!!!
license
]]></content:encoded>

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    <item>

      <title>Sam Amidon : All Is Well - CD Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/all-is-well-18</link>      <description>
                Note to the listener:
This album is dedicated to Dock Boggs. From his recordings I learned many of the melodies and words found in this music. The banjo is from Africa and is well represented on the album &quot;Black Banjo Songsters.&quot; This album is a gift from Valgeir, Nico, and Ben Frost. It is dedicated to them. Singing is a good way to pass the time when you&apos;re taking a walk or hitchhiking: &quot;I&apos;m a long time travelling here below, I&apos;m a long time traveling away from home, I&apos;m a long time traveling      </description>
      <guid isPermaLink="false">117628901130142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Note to the listener:
This album is dedicated to Dock Boggs. From his recordings I learned many of the melodies and words found in this music. The banjo is from Africa and is well represented on the album "Black Banjo Songsters." This album is a gift from Valgeir, Nico, and Ben Frost. It is dedicated to them. Singing is a good way to pass the time when you're taking a walk or hitchhiking: "I'm a long time travelling here below, I'm a long time traveling away from home, I'm a long time traveling here below, to lay this body down." This album is dedicated to Marian, my friends Thomas and Gabriel, my brother Stefan, my parents, and the wonderful and gentle Dr. Weldon who took my wisdom teeth out with such care. I really appreciated that! Have you seen the show "Jackass"? "Wild Bill Jones" and other songs...

Sam Amidon
]]></content:encoded>

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    <item>

      <title>Sam Amidon : All Is Well - 12&quot; Vinyl Album</title>
      <link>https://bedroomcommunity.greedbag.com/buy/all-is-well-18</link>      <description>
                Note to the listener:
This album is dedicated to Dock Boggs. From his recordings I learned many of the melodies and words found in this music. The banjo is from Africa and is well represented on the album &quot;Black Banjo Songsters.&quot; This album is a gift from Valgeir, Nico, and Ben Frost. It is dedicated to them. Singing is a good way to pass the time when you&apos;re taking a walk or hitchhiking: &quot;I&apos;m a long time travelling here below, I&apos;m a long time traveling away from home, I&apos;m a long time traveling      </description>
      <guid isPermaLink="false">117628893080142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Note to the listener:
This album is dedicated to Dock Boggs. From his recordings I learned many of the melodies and words found in this music. The banjo is from Africa and is well represented on the album "Black Banjo Songsters." This album is a gift from Valgeir, Nico, and Ben Frost. It is dedicated to them. Singing is a good way to pass the time when you're taking a walk or hitchhiking: "I'm a long time travelling here below, I'm a long time traveling away from home, I'm a long time traveling here below, to lay this body down." This album is dedicated to Marian, my friends Thomas and Gabriel, my brother Stefan, my parents, and the wonderful and gentle Dr. Weldon who took my wisdom teeth out with such care. I really appreciated that! Have you seen the show "Jackass"? "Wild Bill Jones" and other songs...

Sam Amidon
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      <title>Nico Muhly : Speaks Volumes - CD Album</title>
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                Nico’s generation was born after the premieres of Reich’s Music for 18 Musicians and Glass’s Music in Twelve Parts. These are pieces that present themselves as purely intellectual exercises, controlled by arithmetical processes rather than emotional narrative, and relying on traditional, “tonal” harmonies and gestures only to provide a greater transparency into their construction. But they are nevertheless remarkably affecting. Whether for cultural, psychological or even physiological reasons, h      </description>
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      <content:encoded><![CDATA[Nico’s generation was born after the premieres of Reich’s Music for 18 Musicians and Glass’s Music in Twelve Parts. These are pieces that present themselves as purely intellectual exercises, controlled by arithmetical processes rather than emotional narrative, and relying on traditional, “tonal” harmonies and gestures only to provide a greater transparency into their construction. But they are nevertheless remarkably affecting. Whether for cultural, psychological or even physiological reasons, harmony that moves from one triad to another, or merely from a state of dissonance to a state of consonance, is going to resonate emotionally with its listeners.

This record doesn’t sound like most classical records, where the idea is to synthesize an idealized version of live musical perfomance; the disc is a longer-lived and subtly groomed substitute for this authentic experience. Even a wildly innovative classical composer will usually produce a recording intended to conform in key respects to the nineteenth-century experience of classical music. This record was approached from a different direction. Almost all of it could be and will be performed live – Clear Music and Keep in Touch have both reached the concert stage – but live performance isn’t necessarily the ideal context for these pieces any more or less than your stereo at home.

Of course, even terms like “producer,” “engineer” and “programmer” understate Valgeir’s role in a collaboration such as this one. Valgeir’s contribution here is not only technical but creative: in his unorthodox handling of ambience and balance on this album, he’s as much an interpreter of the music as the conductor would be on a conventional orchestral recording; in his sensitive digital realization of the electronic noises in this music, he is as much a performer as any of the other instrumentalists. In this respect, his role is less like that of a traditional classical producer than it is like that of the post-Sgt. Pepper rock producer. For one thing, the instruments are miked “too” closely, letting the listener in on the sort of nitty-gritty lips-on-mouthpiece, bow-on-string mechanics of musical performance that are usually washed away by concert-hall acoustics. Valgeir’s recording and production don’t sit back and let the music sweep the listener away, emotionally; it leans forward in exacting scrutiny and urges the listener to pay attention as well.

This is an especially arresting choice given that the music is composed using a highly expressive vocabulary. What’s being scrutinized, then, but expression itself? “Speaks Volumes,” “It Goes Without Saying,” “Keep in Touch,” “Honest Music”; most of the titles on this album describe an attempt to communicate. The title “Clear Music” could describe the transparency of its musical texture (a texture inspired, appropriately enough, by a Björk album Valgeir recorded), but it could also refer to the insistency with which its musical ideas are put forward. It attempts to “make itself clear.” Likewise, “Quiet Music” doesn’t necessarily describe the sound of the piece – if you’re listening to this record at a high volume, you might even find the entry of the melody a little jarring – but it does describe, among other things, the succinctness and discretion with which it communicates.

No composer can escape the sentimental implications of a musical device; no pianist can escape the physicality of his or her musical performance – an arpeggio up the ivories is going to tickle them no matter what. In fact, the lack of adornment over one of these constructions, in suggesting a reticence towards self-expression, is itself highly expressive. In the hands of someone willing to manipulate these things, the flattest surface, the merest gesture, even the deepest silence speaks volumes.

— Daniel Johnson 
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