1. |
] Nascence
04:09
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A bass drone, a key, a tonal focus, the beginning of an idea
from Tonal Aethers (2014) for bass and live electronics [MAX6]
by James Vitz-Wong
opening drone recorded minutes before house was opened
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2. |
) Prelude
03:07
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Between the notes, resting upon the chords, here we have the entire suite
from Suite No. 1 in G major (1717) for cello
by Johann Sebastian Bach (1685-1750)
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3. |
] Troposphere
01:14
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Falling from the clouds of notes, drops of melody
from Tonal Aethers (2014) for bass and live electronics [MAX6]
by James Vitz-Wong
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4. |
) Allemande
03:44
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|
Ever-elongated phrase flows in and out, never quite finishing, wondering where to go next
from Suite No. 1 in G major (1717) for cello
by Johann Sebastian Bach (1685-1750)
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5. |
] A Retrograde
01:22
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|
The reversal of the upwards arpeggio
from Tonal Aethers (2014) for bass and live electronics [MAX6]
by James Vitz-Wong
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6. |
) Courante
02:31
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You'd better run
from Suite No. 1 in G major (1717) for cello
by Johann Sebastian Bach (1685-1750)
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7. |
] Disinterment
01:41
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|
Extracting the slow melody from the turbulent chaos
from Tonal Aethers (2014) for bass and live electronics [MAX6]
by James Vitz-Wong
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8. |
) Sarabande
01:47
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|
We are grounded, even as we march forward
from Suite No. 1 in G major (1717) for cello
by Johann Sebastian Bach (1685-1750)
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9. |
] Worn Creases
01:17
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|
Here are chords we have become used to, here is how they rearrange
from Tonal Aethers (2014) for bass and live electronics [MAX6]
by James Vitz-Wong
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10. |
) Menuets I & II
02:35
|
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|
Keep your momentum constant
from Suite No. 1 in G major (1717) for cello
by Johann Sebastian Bach (1685-1750)
|
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11. |
] Accumulation
01:13
|
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|
At the end of the suite, we have gathered enough tonicization to propel us to the very end
from Tonal Aethers (2014) for bass and live electronics [MAX6]
by James Vitz-Wong
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12. |
) Gigue
01:54
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|
There is much reason to celebrate, let us not forget
from Suite No. 1 in G major (1717) for cello
by Johann Sebastian Bach (1685-1750)
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13. |
: Aria
04:44
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There's something wrong with me....
from Aria et Rondo (1953) for bass and piano
by Alfred Desenclos (1912-1971)
with Chelsea de Souza, piano
...but I still haven't figured out what it is.
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14. |
: Rondo
06:56
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This is fun. We are having a good time. Everything is ok, I swear.
from Aria et Rondo (1953) for bass and piano
by Alfred Desenclos (1912-1971)
with Chelsea de Souza, piano
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15. |
} Idioteque
05:19
|
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|
Who's in bunker, who's in bunker?
Women and children first
I'll laugh until my head comes off
I swallow till I burst
Who's in bunker, who's in bunker
I've seen too much
I haven't seen enough
You haven't seen enough
I'll laugh until my head comes off
Women and children first
Here I'm allowed, everything all of the time
Ice age coming, ice age coming
Let me hear both sides
Ice age coming, ice age coming
Throw me in the fire
We're not scaremongering
This is really happening
Mobiles working
Mobiles chirping
Take the money and run
Here I'm allowed, everything all of the time
from Kid A (2000)
by Radiohead
Thom Yorke (b.1968) / Jonny Greenwood (b.1971) / Colin Greenwood (b.1969) / Ed O'Brien (b.1968) / Philip Selway (b.1967)
with Paul Lansky (b.1945) / Arthur Kreiger (b.1944)
Arranged for bass, beatboxing, voice, and live electronics [Max6] 2012-2014 by James Vitz-Wong (b.1992)
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16. |
|
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|
Who's in bunker, who's in bunker?
Women and children first
I'll laugh until my head comes off
I swallow till I burst
Who's in bunker, who's in bunker
I've seen too much
I haven't seen enough
You haven't seen enough
I'll laugh until my head comes off
Women and children first
Here I'm allowed, everything all of the time
Ice age coming, ice age coming
Let me hear both sides
Ice age coming, ice age coming
Throw me in the fire
We're not scaremongering
This is really happening
Mobiles working
Mobiles chirping
Take the money and run
Here I'm allowed, everything all of the time
from Kid A (2000)
by Radiohead
Thom Yorke (b.1968) / Jonny Greenwood (b.1971) / Colin Greenwood (b.1969) / Ed O'Brien (b.1968) / Philip Selway (b.1967)
with Paul Lansky (b.1945) / Arthur Kreiger (b.1944)
Arranged for bass, beatboxing, voice, and live electronics [MAX6] 2012-2014 by James Vitz-Wong (b.1992)
Recorded during soundcheck/setup 2-23-14, before house opened.
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James Vitz-Wong Los Angeles, California
James Vitz-Wong is a multidisciplinary artist and performer from Seattle, WA, currently residing in Southern California. James holds an MFA in Performance and Composition from CalArts and a BM in Classical Bass Performance and TIMARA from Oberlin Conservatory. Current focuses include audience interactivity and immersion, live digital processing, improvisation, installation, and dance. ... more
James Vitz-Wong recommends:
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This is the score and the essence to one of the most surreal gaming experiences out there.
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Garth Stevenson creates lush soundscapes and beautiful tonal environments from his bass and looping, constantly inspiring me.
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At War With Walls & Mazes
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There's so much going on in this album, electronic and acoustic. Every single subdivision has so much intention, it feels like the instruments and computers are alive together.
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Built from a series of short sequences and loops, the songs on “Threads” unfold in surprising & fascinating ways.
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The culmination of a year-long project for Time Rival is this album of warm, buzzy electroacoustic songs equal parts soothing & strange.
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Offline Listening
by Paul Jordan
In the music of Paul Jordan, digitally manipulated field recordings become striking electronic songs that feel eerie and surreal.
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