- Unburdened Light
- Let Night Come On Bells End The Day
- Simple Affections
- The End of the Line (Air Variations)
- Pretty As Ever
- Toot! Too
- Catsitting at a Musician’s Apartment
- This Floating World
- Joan of Arc
- Alain Badiou
- St. Paul
- Poems & Metapoems
- Some Pomes
- Out of Page
- Cellar Volume 2
- Security Besides Love
- Password / Chamber Music
- The Art of Mary Mazzacane
- St. Francis
- Cellar Volume 1
- Music for Public Ensemble
- Epigenetic Poetry
- a channel, dedicated to Michael
- In My Arms, Many Flowers
- Romanzi nelle i
- Cradle for the Wanting
- Lost at Sea
- Voooxing Poooêtre
- A Castle Popping
- Still In Your Pocket
- A Turn Of Breath
- Ground Of Being
- The Terrible Comet Salt
- Music For Private Ensemble
- Rags To Riches
- Evening Song Awaken
- Vanity Fair
- Mastering Services
- Art Gallery
R11 – Sean McCann – “A Castle Popping” LP
(& “Tub of Deep Green Ink” CDr)
- Eleven Nights in Spain, pt.I – 8:42
- Eleven Nights in Spain, pt.II- – 2:52
- Cosmopolitan Voice Piece – 6:30
- Victorian Wind – 7:42
- Belt-Laced Eyes – 4:50
- May 29th, 2014 Piano Piece no.2 – 5:45
A collection of recordings from 2013 & 2014. This is the first solo release by Sean since Music for Private Ensemble. A display of six recent pieces, not to be taken as a formal ‘album,’ but whatever floats your boat!
The first side holds abstract vocal-based work. Recorded in hotel rooms during business trips in Las Vegas and Spain, and later manipulated on a broken reel to reel machine.
The second side is serene; featuring a recording of McCann’s first formal composition for quartet, Victorian Wind, performed by the Thin Edge New Music Collective. The LP concludes with two works for piano, recorded and edited at home in Pasadena, CA.
Edition of 150 hand-numbered LPs
Includes: 3 inserts (program notes, score excerpts, & photographs)
*Supplemental full-length CDr “Tub of Deep Green Ink” – housed in full color 6-panel wallet
“Tub of Deep Green Ink” CDr
- Computerized Oboe, Introduction (2013) – 2:35
- ADR Aria (2014) – 2:39
- Inverness String Variations (2012) – 6:37
- The Wind Sick (2014) – 1:50
- Waltz, Informal interpretation (2014) – 2:28
- Piano & String Figure (2014) – 2:01
- Rooms of Night (2011) – 20:37
- Sad-Lit Ways (2014) – 4:26
- Inverness Tape Variations (2014) – 4:35
- Computerized Piano no.2 (2013) – 6:14
Tub of Deep Green Ink compliments the nature of the LP, presenting ten tracks from 2011-2014. Ranging from layered string recordings, like the pastoral 2012 piece Inverness String Variations, to computerized-vocal experiments, as with ADR Aria & The Wind Sick (both from 2014). Human voice is dissected and stitched back together; examined under odd light. 2011’s Rooms of Night explores the interior of Sean’s old house in Highland Park (Los Angeles); rain ambience, a cocktail, babel. The album is bookended with digitally notated pieces (for fake oboe & piano, respectively).
Together, these two collections sum up the body of McCann’s musical experimentation and rumination from 2011 to 2014.
Released on July 28th, 2015
*Pardon the crude translation-
“Sean Mccann. Appearance, such as the boy who stored the Moustache, wrapped himself in a non-contemporary wardrobe that do not meet size, such as the father of the hand-me-up, young Sean who love cigars and cognac, the most among the people that I met in LA It is a strange man. No, it is not that and said, Myo~tsu is because not breathe Weed Even though human LA. Sean aesthetic is he is alone always universal radiance that does not depend on age resistance.
Voluntary release by the huge amount of CD-R and cassettes, it is also feeling a little different flavor from the archives of the vigorous activity of the same period of the LA local artists. For example, or a scene belongs, together work hard to other artists (perhaps Matthew Sullivan but it’s for the Sean) is unclear. It’s not an exaggeration to say that it is not almost influenced by contemporary artists.
Beautiful melody that can be what loneliness is played. I wonder overstatement. In addition, there is a reputation for mastering Works also called a craftsmanship, is also the driving force behind the shadow of the current US experimental scene.
However, it but was a short time, if you are living together with him, actually Sean is to did not impression that crowded put in the same period of the artist, also flavor you are looking for hedonic vision seems to LA and to not, for nor faces the experimental music with a California manner Yul as LAFMS know. You do not know is his solitude to explore the contemporary music in stoic and academic until this much in that youth.
Troy Schaefer label (Second Family Band, etc. Worms Blood) a taste of Sean to release any solo work and ideas Fire Company of embodying, he will be released soon from <Reshitaru (Recital)> of the latest album is I am allowed to listened to jump ahead, but this is a masterpiece. and traveling to Almeria of this work ── Spain that has been produced in a different time and place, while accomplishment wine and cheese while eating octopus and olive, were processed in overly PC vocals taken from USB microphone in a hotel room and by dropping things on the tape further Moteasobi, opened the curtain in an unusual track overlaid the piano melody that expresses the exoticism, continued to much inspired by the voice Works in the “layered essay” of John Cage. And, for the first time himself in Canada to The thin edge New Music Collective (the Thin Edge New Music Collective) were asked to play along wrote the music, and the main part by the willingness work with a sequence that is under the mathematical rules It marks the climax, the most Shaun of mental landscape, close the curtain at the piano Works approaching dry and lonely.
From Matthew David to how-to-dress-well, the latest work of Sean that modern US indie artists speak loudly the impact, and Shimiiru in mind.
Then, foreign land, we apologize and secretly in a different language media. Had been eating steal the refrigerator of food is me. Sean Mccann, because I because what you come to buy was the one most delicious.”
“A real surprise from Sean McCann, pursuing his wistful neo-classical themes into more abstracted, obscure spaces. Technically it’s his first new solo release since ‘Music For Private Ensemble’ (2013), and breaks down in two broad sections; the first set features abstract vocal-based work recorded in hotel rooms during business trips in Las Vegas and Spain, which are dissected on a broken reel-to-reel machine to form strange, scrambled collages revealing a whole other side to his discipline. Meanwhile, the other half tends towards his recognisably serene neo-classical structures, including his first formal composition for quartet, ‘Victorian Wind’, performed by the Thin Edge New Music Collective, plus the Basinski-esque warble of his solo piano piece, ‘Belt-Laced Eyes’.”
Recital is That Label, the one that’s rather magnificent and very capable indeed of putting out albums by sing-song droner Ian William Craig. Among their roster they also count ambient vets Idea Fire Company, pianist Karla Borecky and guitar minimalist Loren Connors, so they should by all rights be a banner experimental label — especially when you consider that their host with the most is none other than Sean McCann, a prime record masterer who also releases his own drones. Sometimes they’re contemporary, sometimes they’re hyperreal, but they’re always off that track that’s beaten.
‘A Castle Popping’ follows up the naturalistic and oftentimes fantastical orchestral arrangements of ‘Music for Private Ensemble’, as well as the droning fog of ‘Ten Impressions for Piano & Strings’; here, instead of pursuing a particular atmospheric narrative, McCann fucks shit up, banishing himself to the rabbit-hole for a record of disjointed tape manipulations and fatigued field recordings. It opens with “Eleven Nights in Spain”, a warbling mess of grumbling and squeaking sounds chomping on one another; the piece’s second suite eventually meets with some of McCann’s laissez-faire piano playing, in which he restrains from melodies and instead conjoins fragmented chords. All the time he retains the scratchy, weird sounds the track’s grown from, suggesting the kind of pungent pastorality of Dolphins Into The Future.
On the flip, McCann offers something closer to serenity, a live performance of “Victorian Wind” drifting between strings, brass and piano, as if each are slow-dancing on stage at the ballet. The two home recordings that close out the record feel suitably relaxed, like ominous lounge compositions; piano flickers as the recording process forces crackles and fractures. McCann has one of the most versatile creative palettes out there, so do yourself a solid and stick around for the bonus CD of compositional content!