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)

1997+20: No More Sundays

This is a remix of my song “No More Sundays” (1997). The original version was created without notation, while it is inspired by the notated compositions of Steve Reich, especially in this case, Proverb (1995). In my variation on the aforementioned work, I composed a text with plenty of vowels sounds, first singing it as a melody, and then as a series of lengthening four-part canons against a repeating two-part piano canon. I played an electronic drum part that recalled Stewart Copeland’s 6/4 backbeat on the Police song “Synchronicity I” (a track that to my ears also sounds inspired by Reich).

For the remix, which does not alter the pitches or tunings (intended and otherwise) themselves, I digitized the original 4-track cassette elements. Tracks 3 and 4 (voices, keyboards/cymbals) copied in reverse, as I transferred them using a standard cassette player which plays two tracks in one direction as side A, and the other two in the opposite direction as side B. I then aligned the reverse tracks against the forward playing tracks 1 and 2 (snare/kick, voices). This resulted in the song’s harmonic and formal structure being layered upon itself in a quasi-palindromic crab canon. It also broke up the syllable structure of the canons. I did some further breaking up and relayering of voices, especially in the introduction which was originally a vocal solo, and here now includes a set of timed echoes (digital canons).

Written and recorded February 1997, Korg 01/WFD, Yamaha 4-track cassette
Cassette transfer and remix December 2017

Music and composer’s notes copyright Bruce Russell 2017

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 Russell 2017

1996+21: limina

limina, for two pianos and percussion (1996), was created as an exploratory diversion between larger projects. The title, “threshold,” could suggest a point of transition or place between categories, although in retrospect the style and sound of the piece are clear. It is in the same extended musical family as Two Dances for Two Pianos, urfunk etudeMadra and Word from Earth. It ends on the same chord as it began, transposed down a semitone.

Composed and recorded August 1996, Korg 01/WFD
Remixed May 2017

Music and composer’s notes copyright Bruce Russell 2017

1997+20: Storm + Voices

“Storm” is an excerpt from the 30-minute score for WhISH, an interdisciplinary fairy tale performed by Liminal Gryphon Theatre (director Derek Mohamed, choreographer Tracy Renee Stafford). WhISH premiered in February 1997 as part of the Rhubarb! Festival at Buddies in Bad Times in Toronto. The score was also released on cassette. “Storm” was the accompaniment to an ensemble dance, and is of a piece with my lo-fi, distorted MIDI 90s work. The double-layer canons—one high, one low and in canon with each other—are also found in my Two Dances for Two Pianos (1996) and string quartet Madra (1999). Here this material is heard in a just intonation tuning.

The time signature is a slow 3/2. There are two kick drum parts; one heartbeat-like, one with low bass notes doubling accents in the canons. The echo/reverb effects and lazy beat are inspired by dub and trip hop.

(Edit – February 21, 2018)

“Voices” is the finale music from WhISH. It is a short, cloudlike piece, scored for workstation and multiple voices overdubbed, and uses the same just intonation tuning as above. It passes through a series of dominant-like harmonies by gradually expanding the register of the voices, while the bassline moves generally by leaps; with a bit of tritone-itis toward the peak. The tuning would ideally involve a properly workshopped, practice-based acoustic ensemble and chorus.

Composed and recorded January 1997
Korg 01/WFD and Yahama cassette 4-track (on “Voices”)

Photo: detail from cassette cover, drawing by Carsten Knox

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

Best of 2016

Childish Gambino “Awaken, My Love!” (Glassnote)

Vicky Chow A O R T A (New Amsterdam)

King We Are King (King Creative)

Laura Mvula The Dreaming Room (Sony · RCA)

Holly Roadfeldt The Preludes Project (Ravello)

Solange A Seat at the Table (Saint · Columbia)

Esperanza Spalding Emily’s D+Evolution (Concord)

reissues · remasters · restorations · box sets

Wally Badarou Back to Scales To-Night (Barclay · Expansion)

The Emotions Blessed: The Emotions Anthology 1969-1985 (BBR)

Philip Glass The Complete Sony Recordings (Sony)

Bernard Herrmann Twisted Nerve (Stylotone)

John Williams Jurassic Park · The Lost World: Jurassic Park (La-La Land)

Various Artists Doing It in Lagos: Boogie, Pop & Disco in 1980s Nigeria (Soundway)

Various Artists Star Trek: 50th Anniversary Collection (La-La Land)