Herdon, Julie / Amisare
| Album: | Amisare | Collection: | General | |
| Artist: | Herdon, Julie | Added: | Apr 2018 | |
| Label: | Self Release | |||
A-File Activity
| Add Date: | 2018-04-19 | Pull Date: | 2018-06-21 | Charts: | Classical/Experimental |
|---|
| Week Ending: | Jun 17 | Jun 10 | May 27 | Apr 29 | Apr 22 |
|---|---|---|---|---|---|
| Airplays: | 1 | 1 | 1 | 1 | 1 |
Recent Airplay
| 1. | Jun 29, 2021: | Old Fart at Play (rebroadcast from Jun 15, 2018)
The Line |
4. | May 22, 2018: | Hot Probs
You Can Only |
|
| 2. | Jun 15, 2018: | Old Fart at Play
The Line |
5. | Apr 28, 2018: | Old Fart at Play
Silence |
|
| 3. | Jun 05, 2018: | Waste FM
The Line |
6. | Apr 21, 2018: | Old Fart at Play
Swimming |
Album Review
DeVoss
Reviewed 2018-05-11
Reviewed 2018-05-11
– General Description:
Julie Herndon is a doctoral candidate at Stanford University where she studies with Mark Applebaum and Brian Ferneyhough. Her website ABOUT description: “a composer and performer working with internal/external space through improvisation, text, graphics, and electronics.”
I enjoy and am curious about all sound and musical activities. I listened to these m4a tracks through NHT SuperOne speakers in an acoustically hot room. Two tracks were uncomfortable (and even painful) due to the low throbbing and sustained bass tones. My sensitivity may be because of my training as a piano tuner and/or the acoustic space I was in at the time. How will they play out over small computer speakers or an automobile sound system? Don't know, but much will get drowned out unless played in a quiet space.
For those interested in the instruments used and recording techniques, video of live performances of some of these songs can be seen at: julieherndonmusic.com
Musicians:
David Brown (viola), John Ivers (clarinet), Joshua Marshall (saxophone), Stephanie Neumann (saxophone), and Erika Oba (flute)
1. ***(2:06) You Can Only - slow, spare piano start; clear soft soprano, unclear lyrics; ethereal
2. (6:17) Swimming - leisurely pacing of piano, woodwinds, electronica; like climbing stairs
3. (6:54) Edges - very low audio start, flute and low bass rumbling sound; very uncomfortable
4. (3:07 ) Rockridge to MacArthur - more low bass rumbling sound, now throbbing, it's actually painful so I stopped the track at 1:05 and didn't listen further
5. (4:37) Science - slow tempo, soft soprano, unclear lyrics over long sustained tones; lots of reverb; cathedral feel
6. (4:49) There's No - long, sustained tones with soft voice behind; tones get annoying; waiting for some music
7. (4:16 ) On What Cannot - spooky breath with twisting, climbing background flute (?) sounds; more sustained tones; very experimental sounding
8. ***(3:40) The Line - languid, graceful piano with light voice above, unclear lyrics; melancholy; audio basically ends at 3:25
Julie Herndon is a doctoral candidate at Stanford University where she studies with Mark Applebaum and Brian Ferneyhough. Her website ABOUT description: “a composer and performer working with internal/external space through improvisation, text, graphics, and electronics.”
I enjoy and am curious about all sound and musical activities. I listened to these m4a tracks through NHT SuperOne speakers in an acoustically hot room. Two tracks were uncomfortable (and even painful) due to the low throbbing and sustained bass tones. My sensitivity may be because of my training as a piano tuner and/or the acoustic space I was in at the time. How will they play out over small computer speakers or an automobile sound system? Don't know, but much will get drowned out unless played in a quiet space.
For those interested in the instruments used and recording techniques, video of live performances of some of these songs can be seen at: julieherndonmusic.com
Musicians:
David Brown (viola), John Ivers (clarinet), Joshua Marshall (saxophone), Stephanie Neumann (saxophone), and Erika Oba (flute)
1. ***(2:06) You Can Only - slow, spare piano start; clear soft soprano, unclear lyrics; ethereal
2. (6:17) Swimming - leisurely pacing of piano, woodwinds, electronica; like climbing stairs
3. (6:54) Edges - very low audio start, flute and low bass rumbling sound; very uncomfortable
4. (3:07 ) Rockridge to MacArthur - more low bass rumbling sound, now throbbing, it's actually painful so I stopped the track at 1:05 and didn't listen further
5. (4:37) Science - slow tempo, soft soprano, unclear lyrics over long sustained tones; lots of reverb; cathedral feel
6. (4:49) There's No - long, sustained tones with soft voice behind; tones get annoying; waiting for some music
7. (4:16 ) On What Cannot - spooky breath with twisting, climbing background flute (?) sounds; more sustained tones; very experimental sounding
8. ***(3:40) The Line - languid, graceful piano with light voice above, unclear lyrics; melancholy; audio basically ends at 3:25
Track Listing
| 1. | You Can Only | 5. | Silence | |||
| 2. | Swimming | 6. | Theres No | |||
| 3. | Edges | 7. | On What Cannot | |||
| 4. | Rockridge To Macarthur | 8. | The Line |