www.kynantan.com - two clouds japan ep available for free download (for limited time)
This EP is four tracks / 23 minutes of music composed over the past two years. Limited print release for Japan. Available as mp3 download for free for a limited time.
6.1.10
3.1.10
25.11.09
Japan Tour
Hello loyal friends!
This Sunday I leave for Japan for the first time, to complete my first tour as a solo artist. I am extremely excited to see how things go in a completely different world from the one I am in at the moment. I have eight shows all up -
KANSAI 4th – 8th
4th Hokage, Osaka
6th Socrates, Kyoto
8th Socio, Osaka
Tokyo 10th – 17th
10th Nanahari
11th (an) (s) arrangement – Otto Mainzheim Gallery
12th Qvirivsha
13th Special colors
14th Muzenji
I must thank Kouhei Harada, Go Tsushima and Harico very much for getting me all these great shows..... I am overwhelmed by their generosity.
I will have a tour EP to give out at these shows, titled Two Clouds, it features four tracks (23 minutes) of material that I have been working on over the last year and a half. It also features great artwork by Claire Krouzecky. I'll try to put this online as a free download soon, on the nearly completed kynantan.com.
See you in Japan!
Kynan
This Sunday I leave for Japan for the first time, to complete my first tour as a solo artist. I am extremely excited to see how things go in a completely different world from the one I am in at the moment. I have eight shows all up -
KANSAI 4th – 8th
4th Hokage, Osaka
6th Socrates, Kyoto
8th Socio, Osaka
Tokyo 10th – 17th
10th Nanahari
11th (an) (s) arrangement – Otto Mainzheim Gallery
12th Qvirivsha
13th Special colors
14th Muzenji
I must thank Kouhei Harada, Go Tsushima and Harico very much for getting me all these great shows..... I am overwhelmed by their generosity.
I will have a tour EP to give out at these shows, titled Two Clouds, it features four tracks (23 minutes) of material that I have been working on over the last year and a half. It also features great artwork by Claire Krouzecky. I'll try to put this online as a free download soon, on the nearly completed kynantan.com.
See you in Japan!
Kynan
17.10.09
Ambassador from Everywhere, tonight at Scitech
Tonight I am performing with Lawrence English (Brisbane / Room40, Touch) and Splendid Friends at Scitech. The world of science is pretty fun and it should prove an interesting backdrop. I have seen Lawrence English play once before, providing electronic scores to a collection of Harry Smith short animated films. It was incredible, the textures and shaped morphed and twisted and it worked beautifully with the films. Lately I purchased his albums A Colour for Autumn and Kiri No Oto, both of which feature amazing washes of organic sounding ambient electronics.
The event tonight is presented by Meupe.
meupe.net
The event tonight is presented by Meupe.
meupe.net
22.9.09
Ménilmontant Review
Hello!
In addition to my musical creation endeavors I also write reviews for Australian online magazine Resonate.
The internet is a big place, and I feel it is important to have good writing about music to promote, document and analyse in an interesting, expert and critical manner. I'm trying to improve my writing, for the good of music (or something like that).
Here is my review of the Ménilmontant film score by Chris de Groot. Enjoy. The full review can be found here. Resonate has stack of great articles and journals, please view, interested parties.
_______________________________________________________________
Western Australian composer Christopher de Groot's live score for the dynamic and sensational silent film Ménilmontant (1927) by Dimitri Kirsanoff was performed recently with a screening of the film at the Astor Cinema in Mount Lawley. The composition was performed by Annexia, a 19-piece ensemble formed by de Groot for the purpose of performing his large-scale film scores. This ensemble features string and brass sections in addition to keyboards, accordion, extensive percussion and electronics. The event itself was spectacular: the black and white film was mesmerising on the big screen, the amplified ensemble with electronics created a huge sound, and the seats were filled with an appreciative audience. One of the key elements to the success of this show was the spectacle - a live film score of this magnitude is a rare event and one that deserves a lot of attention.
One of the earliest films to completely refrain from using explanatory titles, Ménilmontant is a powerful psychological deconstruction and an impressive and beautiful experimental film. The imagery in this film explores a range of textures, atmospheres and moods, defying storyline with its abstract nature. The film also serves as an impression of conflicting day and night characters of Paris - the hustle and bustle of the urban city by day, and the seedy night-time of dark cobblestone alleyways, crime and prostitution. It tells the tale of two sisters who move to the suburb of Ménilmontant in Paris after the brutal and shocking murder of their parents, and traces their involvement with the city's working class, and their encounters with poverty, loneliness and death. The contrast between contemplation and action in this beautifully tragic film provided an amazing compositional opportunity that de Groot took complete advantage of.
De Groot's composition provided some great introspective moments such as the solemn, desolate organ which chimes at the young woman's realisation of the death of her parents. The opening scream, string motif and high-pitched dissonant chords were a powerful setting for a brutal first scene. From here, de Groot evoked the rhythmic flourish and movement of young children playing and the turning of wheels on the streets of Paris. Each of these was captured with a precision that seemed to express the movement of the city with solemn undertones, rather than the joy of the characters. Found sound recordings were introduced, some which acted as sound effects or diegetic sounds, some that enhanced the ensemble parts and others used for atmospheric or emotional purposes, such as the scattered whispers that echoed the doubts in the sisters' minds.
The full ensemble was utilised to great effect throughout the entire score, producing a range of ensemble timbres and fusing electronics with instruments to create music that shifted and evolved according to the needs of the film. This gave the soundtrack an amazing sense of openness. Towards the latter half of the film the contemplative material really came into its own, with drawn-out discordant harmonies, sleazy jazz improvisation-style soloing and recorded material meshing with the live music. In particular, the use of vibraphone, music box and accordion created rich textures and demonstrated de Groot's talent for interwoven ensemble scoring.
In the context of this particular film, it is important to mention the usefulness of music and sound to help to explain and give context to parts of the story. Ménilmontant, a silent film that was designed to be abstract (no guiding titles were provided), benefited from music which at times directed the motion and feeling of a particular scene. This in turn meant that more abstract, reflective scenes were met with more reflective music, and overall the sound world evoked both the concrete realities presented in the film and the psychological narrative of the characters.
While the score didn't follow an overarching form throughout the film, it did augment each scene and imbed itself into the visual material. It both enhanced and contrasted with each moment of the film, giving in to its fast-paced changes and enveloping its listeners in a rich, immersive experience.
In addition to my musical creation endeavors I also write reviews for Australian online magazine Resonate.
The internet is a big place, and I feel it is important to have good writing about music to promote, document and analyse in an interesting, expert and critical manner. I'm trying to improve my writing, for the good of music (or something like that).
Here is my review of the Ménilmontant film score by Chris de Groot. Enjoy. The full review can be found here. Resonate has stack of great articles and journals, please view, interested parties.
_______________________________________________________________
Western Australian composer Christopher de Groot's live score for the dynamic and sensational silent film Ménilmontant (1927) by Dimitri Kirsanoff was performed recently with a screening of the film at the Astor Cinema in Mount Lawley. The composition was performed by Annexia, a 19-piece ensemble formed by de Groot for the purpose of performing his large-scale film scores. This ensemble features string and brass sections in addition to keyboards, accordion, extensive percussion and electronics. The event itself was spectacular: the black and white film was mesmerising on the big screen, the amplified ensemble with electronics created a huge sound, and the seats were filled with an appreciative audience. One of the key elements to the success of this show was the spectacle - a live film score of this magnitude is a rare event and one that deserves a lot of attention.
One of the earliest films to completely refrain from using explanatory titles, Ménilmontant is a powerful psychological deconstruction and an impressive and beautiful experimental film. The imagery in this film explores a range of textures, atmospheres and moods, defying storyline with its abstract nature. The film also serves as an impression of conflicting day and night characters of Paris - the hustle and bustle of the urban city by day, and the seedy night-time of dark cobblestone alleyways, crime and prostitution. It tells the tale of two sisters who move to the suburb of Ménilmontant in Paris after the brutal and shocking murder of their parents, and traces their involvement with the city's working class, and their encounters with poverty, loneliness and death. The contrast between contemplation and action in this beautifully tragic film provided an amazing compositional opportunity that de Groot took complete advantage of.
De Groot's composition provided some great introspective moments such as the solemn, desolate organ which chimes at the young woman's realisation of the death of her parents. The opening scream, string motif and high-pitched dissonant chords were a powerful setting for a brutal first scene. From here, de Groot evoked the rhythmic flourish and movement of young children playing and the turning of wheels on the streets of Paris. Each of these was captured with a precision that seemed to express the movement of the city with solemn undertones, rather than the joy of the characters. Found sound recordings were introduced, some which acted as sound effects or diegetic sounds, some that enhanced the ensemble parts and others used for atmospheric or emotional purposes, such as the scattered whispers that echoed the doubts in the sisters' minds.
The full ensemble was utilised to great effect throughout the entire score, producing a range of ensemble timbres and fusing electronics with instruments to create music that shifted and evolved according to the needs of the film. This gave the soundtrack an amazing sense of openness. Towards the latter half of the film the contemplative material really came into its own, with drawn-out discordant harmonies, sleazy jazz improvisation-style soloing and recorded material meshing with the live music. In particular, the use of vibraphone, music box and accordion created rich textures and demonstrated de Groot's talent for interwoven ensemble scoring.
In the context of this particular film, it is important to mention the usefulness of music and sound to help to explain and give context to parts of the story. Ménilmontant, a silent film that was designed to be abstract (no guiding titles were provided), benefited from music which at times directed the motion and feeling of a particular scene. This in turn meant that more abstract, reflective scenes were met with more reflective music, and overall the sound world evoked both the concrete realities presented in the film and the psychological narrative of the characters.
While the score didn't follow an overarching form throughout the film, it did augment each scene and imbed itself into the visual material. It both enhanced and contrasted with each moment of the film, giving in to its fast-paced changes and enveloping its listeners in a rich, immersive experience.
16.9.09
Totally Huge
The Tura Totally Huge New Music Festival is in full swing in Perth. Fantastic events of new music in the form of ensembles, electronics, projections and installations. These have mostly taken place in the museum, I just returned from Ensemble Offspring performing with Pimmon, improvising and playing Stockhausen's Kontakte. Amazing stuff.
We have also had some great artist talks and performances from Camilla Hannan, Thembi Sodell and Tarab who have interesting takes on field recordings, performing and electronic music in general.
I had my work, Hypnogenia performed on Monday night, and performed laptop with viola and cello in Kelly Curran's minimalist composition. All in all I am exhausted but having a great time, trying to support the festival as best I can.
This Friday my installation work Threads is premiering at free range gallery, an artist-run, not-for-profit gallery space. This has been included in the festival which I am thrilled about. I didn't mean for the event to take place during the festival programming, but I hope having it draws more people into the festival schedule of events and sound installations.
Finally just a few more images I have been creating lately.
We have also had some great artist talks and performances from Camilla Hannan, Thembi Sodell and Tarab who have interesting takes on field recordings, performing and electronic music in general.
I had my work, Hypnogenia performed on Monday night, and performed laptop with viola and cello in Kelly Curran's minimalist composition. All in all I am exhausted but having a great time, trying to support the festival as best I can.
This Friday my installation work Threads is premiering at free range gallery, an artist-run, not-for-profit gallery space. This has been included in the festival which I am thrilled about. I didn't mean for the event to take place during the festival programming, but I hope having it draws more people into the festival schedule of events and sound installations.
Finally just a few more images I have been creating lately.
3.9.09
Hypnogenia
In less than two weeks, on the 14th of September I will be performing in Breaking Out: Young Composers Concert as part of Tura's Totally Huge New Music Festival. This is at the Western Australian Museum and is an exciting ordeal.
The work I am going to be performing is Hypnogenia, for laptop processing of a video score. I created a max/MSP/Jitter patch which interprets any video or image into sound by locating it's largest objects, and transferring this information into pitch, density, playback position, spatialisation for a granular sound engine. I then made a bunch of videos in Jitter in order to create a musical score.
Here are some of the screenshots from the project (which is yet unfinished)
When the project is finished I plan to invite various visual artists or composers to make videos for the setup and have them arranged into a exhibition / installation. Also I hope to release the software as a stand alone application for everyone to have fun with.
More soon
The work I am going to be performing is Hypnogenia, for laptop processing of a video score. I created a max/MSP/Jitter patch which interprets any video or image into sound by locating it's largest objects, and transferring this information into pitch, density, playback position, spatialisation for a granular sound engine. I then made a bunch of videos in Jitter in order to create a musical score.
Here are some of the screenshots from the project (which is yet unfinished)
When the project is finished I plan to invite various visual artists or composers to make videos for the setup and have them arranged into a exhibition / installation. Also I hope to release the software as a stand alone application for everyone to have fun with.
More soon
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