Upcoming Shows

Pianist/composer Marcus Bittencourt performed his own BATHYSCAPHE, for ring-modulated piano and live electronics, based around non-octave polymicrotonal systems.

Renowned Swiss violinist Maja Cerar performed PEACE PRAYER (DREAM), and the raw, fierce energy of saxophonist Matthew Polashek was featured in LUNAR CRESCENT, both works by Douglas Geers, engaging spectrally-derived microtonal pitch materials.

Composer Timothy Polashek presented HOT TEMPERED ARPEGGIOS, and PIANO, engaging varied polymicrotonal contexts.

MERGURS EHD FLEWWEH BQ NSOLST, an immolation prayer from a citizen of Mercury to the sun, by Christopher Bailey, in Just Intonation, performed by Matthew Polashek and performance artist Sukato, as well as Bailey’s classic OOOGAAH, DUNGEONY SPECIMEN SPACESHIP rounded out the program .

About

We are a group of musicians who want to take listeners on quasi-cinematic journeys into worlds of computer-created and electronically enhanced music. The moods and methods vary from work to work, but all reveal the power and beauty possible from sculpting sound via computer-music and computer-assisted-composition tools.

Thanks for the support!

Statement

As humans and their infernal rattletraps zip transverse the perimeters of quixotic subconscious inquiry, the Electric Music Collective offers virtual elopement with its transcendental would-be sonic pandemonium, interspersed with luminous rubicund sonorousness; an extrication and liberation from the vicissitudes of quotidian experience–one, however, that curls back to its very center of circumvention.

Just when the music of the Electric Music Collective has drawn you away—life’s brutality and beauty are revealed anew.

What if one could have the whole world as an orchestra? What if every sound producing object could be potentially used as a musical instrument? Captured in a recording, sounds can be precisely manipulated, ordered, controlled with the utmost virtuosity to serve the most capricious concoctions. Imagine the possibilities of sound mixtures, from transparent chamber-like structures to massive amalgams of thousands of simultaneous sounds. The five composers featured here all propose different ways and views on this strange Art of collecting sounds, conjuring hordes of natural, real-world sounds as well as artificially synthesized sounds, organizing them musically, and projecting them back to a listener. These artists are sound sculptors, dealing with sound itself, frozen and preserved for all eternity inside a recording. Cinema-for-the-Ear.