Sounds & Releases

A track from the 2014 album Red Under White Over Yellow

10553544_879133392099985_778881310364220185_n– Our Heroine Learns – A piece from the The Drive to Uqbar album Red Under White Over Yellow.

 

 

 

– Kuyahoora – A second track from the album Red Under White Over Yellow.

 

– Pale As That Of… – Another piece from the 2014 release Red Under White Over Yellow.

 

Check out our Vimeo video page: ttps://vimeo.com/home/myvideos/page:1/sort:date/format:video

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A few tracks from a film score T.D.T.U. is working on for a soon-to-be announced horror movie that never happened.

I’m Standing Here, Why Go? – This is the first track completed for an upcoming horror film that would have been soon-to-be announced if it happened. More tracks to come: we will share the tracks as they are completed.

 

– Emerges Without a Glow – Another piece written for a horror genre movie that was never announced.

 

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2 tracks from the Andrei Tarkovsky homage album Station No. 2: Myasnoye

tarkovksyprojectcoverMYASNOYEAnd I Am Terribly Tired. We have recently finished recording a session with our cellist, Yamilet Trujillo. Using Bach’s “Erbarme dich, mein Gott” as an underlying platform, she improvised her own “gesture,” or variation, of the work by employing similar phrases and note structures. The result is beautifully haunting—powerfully communicating both the loneliness and irrevocable solitude associated with the imagery of late Russian filmmaker Andrei Tarkovsky, the inspiration for The Drive to Uqbar’s upcoming album (currently scheduled for a Winter release) on which Yamilet’s piece will appear as a stand-alone track in addition to the piece for which it was originally intended.

 

– Last Night I Had A Terribly Sad Dream – Inspired by an entry in Andrei Tarkovsky’s Martyrolog.

 

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A track for Japan

Cover_MOS– NoH (for Japan) – This is a track we created for the Essentia Mundi Japan Relief compilation “Mechanics of Silence.” This track was intended for the music release, but another of our new tracks was chosen;  this piece was issued as a video release here.

 

 

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em0243 tracks from the upcoming album First Station

Though inspired by Barnett Newman’s work, I tried not to intellectualize the music in its relationship to the paintings- though at times an aspect of the painting would be a thought-out seed from which I began a platform. Rather, I allowed the paintings to initially envelope me and then created based on the overall feelings that remained after the experience. The following comments are based on my experience creating the music pieces that coincide with the specific painting/title.

– Horizon Light This piece came about using the horizontal aspect of the painting as the platform. I played a single note for each layer until it created a chord, then created a second chord as a change, for a total of 12 layers, representing the painting’s scope. Though color did not factor in to the process, texture certainly did.  Wonderful harmonic bursts project out of the chords, which formed a texture not too different from those within Newman’s main color field. I have always been struck by a “break-in-the-action” in the painting: the bluish “zip” shade changes approximately half-way through. Natural instinct took over and I ended up emulating this; I wrote a “second-half” for the track consisting of a guitar-delay burst opposing a two-note melody (my favorite kind), which also suggested the more playful and fun mood of this part of the painting. To achieve the additional tone and texture that I felt the track lacked, I began working improvisationally with a cellist (the cello being, for me, the most sonically rich and organic instrument). This strategy worked out well: we found our way through without technical rigidity and, in fact, ended up using more cello on the album.

 

– Day Before One All I see when looking at this painting is a doorway. Within that doorway? A blue mystery, a place to dream or make your own world come alive. Thus, the music had to allow for dreaming. I decided on a two-note breathing layer into which was worked a juxtaposition of that layer. The heavy texturing of the paint strokes suggested additional musical textures—so, again, the cello satisfied that craving. Though cliché, the blue again conveys sadness; these notes, along with the layered string instrument, succeed in fulfilling my creative intentions.

 

– Prometheus Bound – Blackness drove the music with this piece. This painting’s dark field seems to push down heavily onto the white light at the bottom but is not able to extinguish it. After laying down a foreboding platform that conveyed the mood of the painting’s color field, I immediately could hear an ethereal voice—the white strip along the bottom of the painting. This led me to research the exact voice I was “hearing.” I decided on Hildegard of Bingen. I then wrote a poem/song called “Black Fire” inspired by the Greek mythological tale of Prometheus. The English didn’t seem to feel right, so I translated the lyrics into Latin and off we went, shaping and chipping away at the platform until the piece found its way within the vocals and vice-versa. The painting is dark and foreboding but also hauntingly beautiful and angelic as are the piece’s vocals.

 

*Purchase this album in digital download form here.

**This album has been released in physical form on the Ambient, Experimental record label Essentia Mundi.

***Check out our Vimeo video page: ttps://vimeo.com/home/myvideos/page:1/sort:date/format:video

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2 tracks from the album North Strand

northstrandCOVERmay2012CDSIZEDSound artist Keith Rose of The Drive to Uqbar conceived the album’s overall concept after reading a passage in a well-regarded 20th-century piece of literature. The episode’s setting—a strand near the sea along which the protagonist walks—is described in such rich, detailed imagery that it inspired Rose to create the 15-minute opening title track, a textured, minimalist drone, with a very loose, unstructured melody that results in a dreamy atmosphere. To bookend the album, Rose created another track in the same tradition (this one inspired by another section in the novel), only this time creating a darker mood that paralleled the tone of the episode on which it is based, while subtly contrasting the previous drone. Imagery throughout the book subsequently inspired the album’s remaining tracks, including two haunting tracks, Enters Mabbot St. and Yes, which were written through direct influence of the novelists style of prose; “stream of consciousness”.

As Rose was closing in on the completion of the final two tracks, he felt the need to incorporate a female vocalist since this is also a key element in the novel’s dénouement. Through a colleague, he met Rebecca Reis-Miller, a classically trained vocalist who then created an ethereal backdrop that also defines two of the novel’s major characters.

Enters Mabbot Street –

 

Yes (Abridged) –

 

*Purchase this album in digital download form here.

** Video page: ttps://vimeo.com/home/myvideos/page:1/sort:date/format:video

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A track from the album Minus One

minusonealbumcoverSQUARECROP– Minus One – Our 2008 debut album under the group name of Minus One.

 

 

 

*Purchase this album in digital download form here.

** Vimeo video page: ttps://vimeo.com/home/myvideos/page:1/sort:date/format:video

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Albums

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-Red Under White Over Yellow  (2014)

This was our first non-conceptual album. Stripped and threadbare. Anchored by a minimalist approach with various sources of inspiration, an “in the moment” sort of thing. In some ways denser than previous efforts and, in other ways, airy and roomy- a sense of ease envelopes the work as a whole.

Vimeo video page: https://vimeo.com/user5256803

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tarkovksyprojectcoverMYASNOYE-Station No. 2: Myasnoye (2012)

A rattling bicycle fender; distant cow maidens blurting musically; sheep scurrying right to left—soft thunder: silent, powerful time in limbo. This scene, from late Russian filmmaker Andrei Tarkovsky’s last film, Offret, inspired me to compose a track eventually titled “A Gotland Stroll (Location Hunting).” Equally significant (possibly more so), though, was the image of Tarkovsky himself scouring the barren Gotland countryside in Sweden searching for shooting locations. Very satisfied with the final track, I felt compelled to write an entire album devoted to these dual inspirational sources—both the man and his films.myasnoye rear cover finalsept52012

A previous music project, First Station, was also an homage—to late abstract expressionist, Barnett Newman. In contrast to that experience—approached like a blank slate, minus any aesthetic limitations or constrictions—producing Station No. 2: Myasnoye proved intimidating, for, in cinema (unlike painting), sound already exists—environmentally as well as musically; moreover, in Tarkovsky’s cinematic universe, sounds are as fundamental as the imagery. This anxiety of influence, coupled with that ever-present artistic dilemma—being derivative, in this case by merely echoing the films’ pre-existing sounds—led on several occasions to the project nearly being abandoned. However, it eventually became clear that at least some shades of Tarkovsky would need to be incorporated less the creative process itself be obstructed. Bach and Verdi, therefore, appear in vignettes—not because of their presence in his films, though, but, rather, because both are integral to the man himself.

Tarkovsky’s published diaries, Martyrolog, influenced Myasnoye more than anything else. One inspirational passage, from July, 1986, recorded while he was being treated for terminal cancer at a German clinic in Oschelbronn, reflects Tarkovsky’s powerful connection with nature:

Yesterday I went out for a walk, and was suddenly
overcome with an inexplicable urge: I took my
shoes off and walked barefoot on the cold earth.

This poignant reflection—autobiographical evidence of the nature theme that permeates his films—not only provides revelatory insight into the man himself but also, specifically, inspired the album’s final track

Ambient music demands listeners to observe: sounds float in-and-out of their environment. Tarkovsky’s films require the same: observation. Aural elements—environmental, musical—are integral to experiencing his work. Field recordings are thus incorporated throughout Myasnoye, creating a rich, dense texture.

This album, one hopes, will both be worthy of Tarkovsky’s talent and honest approach to his art as well as stand on its own as an Ambient work deserving to be listened to—and observed.

Vimeo video page: https://vimeo.com/user5256803

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em024-First Station (2011)

An Ambient, Dark Ambient, and Noise concept album inspired by seven paintings from abstract expressionist Barnett Newman.

Built on electronically manipulated field recordings and fused with injections of guitar noise and drones, the individual tracks inlay1-page-001are structured, first, around Newman’s minimalist single stroke technique, what he called his “Zip.” In addition, when translated sonically, Newman’s use of a single color for his paintings’ fields afforded a great deal of creative freedom when designing each track’s overall soundscape. Ethereal, operatic, female vocals occasionally float above and are mixed within certain sections, creating a sonic fabric that can be described as transporting. Additional textures include cello performed by Yamilet Trujillo.

booklet3-4(verso)-page-001

For full track descriptions, go here.

Tracks: (previews)

01. Horizon Light


02. Prometheus Bound


03. Adam (Creation)


04. Ulysses


05. Day Before One


06. First Station


07. Cathedra

 

*Purchase here.

**Released in physical CD form through record label Essentia Mundi here.

***Vimeo video page: ttps://vimeo.com/home/myvideos/page:1/sort:date/format:video

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northstrandCOVERmay2012CDSIZED-North Strand (2010)

(as Minus 3, now- The Drive to Uqbar)

A link to a published article in the James Joyce Quarterly.

Click here to buy. Also available on iTunes.

Some words about the album:

Orlando: Ambient Artist, The Drive to Uqbar, recently released North Strand, a six-track album featuring textured drones and vocal offerings.  Sound artist Keith Rose of The Drive to Uqbar conceived the album’s overall concept after reading a passage in a well-regarded 20th-century piece of literature. The episode’s setting—a strand near the sea along which the protagonist walks—is described in such rich, detailed imagery that it inspired Rose to create the 15-minute opening title track, a textured, minimalist drone, with a very loose, unstructured melody that results in a dreamy atmosphere. To bookend the album, Rose created another track in the same tradition (this one inspired by another section in the novel), only this time creating a darker mood that paralleled the tone of the episode on which it is based, while subtly contrasting the previous drone. Imagery throughout the book subsequently inspired the album’s remaining tracks, including two haunting tracks, Enters Mabbot St. and Yes, which were written through direct influence of the novelists style of prose; “stream of consciousness”.

As Rose was closing in on the completion of the final two tracks, he felt the need to incorporate a female vocalist since this is also a key element in the novel’s dénouement. Through a colleague, he met Rebecca Reis-Miller, a classically trained vocalist who then created an ethereal backdrop that also defines two of the novel’s major characters.

Tracks: (click on title for preview)

01. North Strand


02. Enters Mabbot Street (Circe Remains)


03. Adiaphane


04. Strindberg


05. Yes


06. North Strand (Gloaming)

*Purchase the lossless downloads here.

**Vimeo video page: ttps://vimeo.com/home/myvideos/page:1/sort:date/format:video

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minusonealbumcoverSQUARECROP-Minus One (now- The Drive to Uqbar) (2008)

A compilation of assorted tracks from film scores.

 

 

Tracks: (click on title for preview)

01. Minus One

Video for track Minus One: https://www.youtube.com/watch?v=kiD0rDn7PDY

02. Airport

03. Fracture

04. Over Mercy Square

Video for track Over Mercy Square: https://www.youtube.com/watch?v=08ltSVIfJkw

05. Kast Bridge

06. Here We Go

07. Six Times Three

Video for Six Times Three: https://www.youtube.com/watch?v=iNIs3vY935w

08. Marimar

09. Gate

*Purchase here.

**Vimeo video page: ttps://vimeo.com/home/myvideos/page:1/sort:date/format:video

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Singles

Cover_MOSThe Drive to Uqbar happily contributed the track A Gotland Stroll (Location Hunting) to the Japan Relief Compilation Mechanics of Silence, expertly mastered and efficiently released by label Essentia Mundi. We feel the whole album is a triumph. Info. below.

A Gotland Stroll (Location Hunting)

A Gotland Stroll (Location Hunting) was recorded at Stations Recording Room in March of 2011.

Album release title: Mechanics Of Silence

Format: Compilation / Digital Download
Style: Drone Dark Ambient Electronic
Duration: 11 Tracks / 76 min.
Release Date: 14 April 2011
Released by: Essentia Mundi label

 

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