1994+25: Exoplanet

“Exoplanet” (1994) was commissioned by choreographer Dave Wilson for the student dance ensemble at McMaster University. Musically, it is a kind of postlude to the score for the dance suite “Land of the Living,” which I composed for a festival performance in Lyon several weeks before. I had intended to release both scores as part of a sci-fi instrumental concept album, After, but set the idea aside to work on what would become the album Uhuru.

The track is built on two alternating chords, the tonic and the supertonic, heard at first in the bassline and later in minimalist patterns of stacked fifths.

Rhythms were played manually, with light adjusting of individual MIDI events afterwards. This method of editing — as opposed to running the quantize function which I was not interested in doing — would often involve a discouraging number of clattering button clicks on the 01/W. Thus the light adjusting. It was my way of trying to avoid a fully programmed sound.

“Exoplanet” was a quick sketch for an industrial-themed dance (title unknown) which I didn’t see. I seem to recall it was performed in Boston alongside the suite; thus the complete After album concept enjoyed a single public outing.

Composed and recorded February 1994, Korg 01/WFD

Music and composer’s notes copyright Bruce Russell 2019

Best of 2018

Brandon Coleman Resistance

Tigran Hamasyan For Gyumri

Zaki Ibrahim The Secret Life of Planets

The Internet Hive Mind

JACK Quartet Everything That Rises (John Luther Adams)

Kuniko Drumming (Steve Reich)

Kukuruz Quartet Julius Eastman Piano Interpretations

Kendrick Lamar/Various Artists Black Panther: The Album

Kelly Moran Ultraviolet

Georgia Anne Muldrow Overload

Steve Reich/International Contemporary Ensemble/Colin Currie Group Pulse/Quartet

Esperanza Spalding 12 Little Spells

Kali Uchis Isolation

Kamasi Washington Heaven and Earth

Tierra Whack Whack World

Aretha Franklin The Atlantic Singles Collection 1967-1970

1988+30: Rhythm So New (Asymptotic Urbanites)

“Rhythm So New” began as a song on my demo-style album Suburbanite (1988). In 2008, it was made into an experimental DJ-style remix using CD transfers of the original song mixes as well as the aged 4-track cassette stems. I used looping and filtering to focus on small, rough-edged details and enhance the saturated colours of the vintage medium. The remix was 22 minutes long; this 2018 edit reduces that by half. The original recording featured a Hohner Clavinet, Korg CX-3 organ, Roland S-50 sampler, Yahama DX-27 synthesizer, bass guitar (direct) and overdubbed vocals, all recorded in a single overnight session with no programming.

Composed and recorded November 1988, cassette 4-track

Remixed August 2008, Pioneer CDJs, Allen & Heath mixer

Edited December 2018

Top: The Monarch Tavern, July 2007 (Petri Glad)

Below: detail of Pioneer CDJ-1000 MK2, December 2018 (Bruce Russell)

Music and composer’s notes copyright Bruce A. Russell 2018

1993+25: The Turret

The Turret (1993) was commissioned by choreographer Dave Wilson for a dance solo performed by Viv Moore. It uses a non-equal temperament tuning. It was quickly sketched and left in raw form; however, I had been developing my palette and techniques on the M1 for several years by this point. I titled it for the recessed area where I would compose in the apartment I lived in at the time. 

Composed and recorded February 1993, Korg M1

Photo: Ancient Theatre of Fourvière, Lyon

Music and composer’s notes copyright Bruce A. Russell 2018

Otherwhere

British responses to Black diasporic music, and other sounds from formative walks in SSM and Toronto, via a recollection of refrains, harmonic worlds visited and the journeys between

Omar | You’ve Got to Move
Working Week | Inner City Blues
The Brand New Heavies | Dream On Dreamer
Colourbox | Philip Glass
Young Disciples | Get Yourself Together
Massive Attack | Daydreaming
Level 42 | Coup d’etat
Soul II Soul | Fairplay
Mica Paris | Contribution ft. Rakim
Ronny Jordan | See the New ft. IG Culture
Jamiroquai | Blow Your Mind
Matt Bianco | Half a Minute
Prefab Sprout | Enchanted
Sade | Hang on to Your Love
Incognito | Don’t You Worry ‘Bout a Thing
Caron Wheeler | Kama Yo
Swing Out Sister | Twilight World
Loose Ends | Hangin’ on a String (Contemplating)

Otherwhere: UK 84-94

Ibrahim El Mahboob
March 2018

Best of 2017

Alarm Will Sound with Meet the Composer Splitting Adams (Cantaloupe)

Sarah Cahill with Regina Myers and Samuel Adams Eighty Trips Around the Sun: Music by and for Terry Riley (Irritable Hedgehog)

Ars Nova Copenhagen First Drop (Cantaloupe)

Julius Eastman The Zürich Concert (New World)

ÌFÉ IIII+IIII (Discos Ifá)

Kelly Moran Bloodroot (Telegraph Harp)

Sampha Process (Young Turks)

Tyshawn Sorey Verisimilitude (Pi)

Moses Sumney Aromanticism (Jagjaguwar)

SZA Ctrl (Top Dawg/RCA)

Thundercat Drunk (Brainfeeder)

John Williams Close Encounters of the Third Kind · 40th Anniversary Remastered Edition (La-La Land)

Music by Linda Catlin Smith, Martin Arnold, Isaiah Ceccarelli, Chiyoko Szlavnics, Marc Sabat Canadian Composer Series (Another Timbre)

Various Artists Spiritual Jazz 7: Islam (Jazzman)

1987+30: The Longing

“The Longing” (1987) was my dazed, departing glance at the battleground of adolescence. It was created at the beginning of my studies in electroacoustic composition—my first composition class of any kind—at York University, although not as part of my school work. Even by then, tonality was still a no. Then, as now, I didn’t fit neatly into any one musical box. Enter the DIY cassette: Earthtones, completed over several illicit late night sessions with a mix of school equipment and my own. I had the good fortune of being able to stroll from my dorm room indoors to the studio in the same college. An all-nighter that ended just as my floormates were leaving for their classes allowed for a period of undisturbed rest.

There are four musical lines: a percussive synth phrase on a reel-to-reel tape loop; the same tape loop manipulated and processed, eventually disintegrating in a wash of digital reverb; an improvised synth pad recorded backwards, i.e. the first notes heard were the last played and vice versa; and a piano part which was improvised in response to the retrograde harmonies of the synth.

As with other tracks on Earthtones (“The Longing” being the finale), I composed as I recorded, coasting on the nonrenewable fumes of naïveté. Considering I had taught myself piano and started to play in pop bands only three to four years before, this is a very early snapshot of me self-identifying as a composer.

Recorded November 1987

Four-track cassette, mixed to stereo cassette

Photo: December 25, 1987

Music and composer’s notes copyright Bruce A. Russell 2017