R22 – Sean McCann – “Music for Public Ensemble” 2xLP


  1. Introduction – 3:43
  2. Seam of the Ocean (QA. 1) – 4:00
  3. String Quartet with Ski Response – 6:26
  4. Video Singing Score no.1 – 2:41
  5. Lapping Bulls (QA. 2) – 3:22
  6. Lurida – 12:50
  7. Waterfront Rose – 4:34
  8. Lock Rain – 3:13
  9. Pockets of Night (QA. 4) – 6:03
  10. Pearling – 4:52
  11. Stardust – 5:29
  12. Waltz – 4:33
  13. Video Singing Score no.3 – 4:24
  14. Tune in a Race-car (QA. 3) – 3:38
  15. Fantasia – 6:53
  16. LNP – 6:15


Players Ben Baker Billington, Andrew Chalk, Kayla Cohen, Ian William Craig, Maxwell August Croy, Sarah Davachi, Hank Doyle, Matthew Erickson, Scott Foust, Rob Frye, Celia Hollander, Seth Kasselman, Graham Lambkin, Gabi Losoncy, Rob Magill, Sean McCann, Erica McLachlin, Dave McPeters, Nour Mobarak, Allen Mozek, Tom James Scott, Zachary Paul Schwartz, Troy Schafer, Cameron Stallones, Nick Storring, Matthew Sullivan, Lillian Paige Walton

Rose-Paste Chorale Kayla Cohen, Maxwell August Croy, Morgan Fox, Spencer Grady, Ursula Grady, Benjamin Lovell, Greg Manata, Erica McLachlin, Crystal Myslajek, Matthew Sage, Paula Schanes, Zachary Paul Schwartz, Alex Twomey

First full-length album by Sean McCann since 2013’s Music for Private Ensemble (R5) . Three years in the making, Public Ensemble employs the talents of many Recital allies; a mélange of voices and instruments; violin, viola, cello, contrabass, piano, bass clarinet, tenor saxophone, flute, trumpet, trombone, clarinet, pedal-steel, koto, electronic keyboards (organ, farfisa, harpsichord), percussion, other sounds, tape, & a lamp.
Many of the pieces include recited text; reflections stemming from McCann’s book Pacifics (R14). The narrative is meaningless or meaningful.
Produced and arranged by McCann in Los Angeles, CA.

Limited Edition of 500
Includes a 12-page pamphlet with texts, program notes, & artwork.
Digital download coupon.

Try FORCED EXPOSURE for a remaining copy


Released on November 11th, 2016


Photograph by Arne Reimer


Tiny Mix Tapes (top 50 albums of 2016)

Norman Records:
Heads up everybody, chill experimental composer man Sean McCann is taking his fragmented acoustic (ish) music out of the drawing rooms of King Recital III and into the places that the riff raff of the public can enter. Hmm, maybe he’s actually talking about the ensemble itself rather than the audience; there’s a massive list of personnel per track on the back of the sleeve that makes it look like he’s just recruited everyone for this. Oh, and Ian William Craig’s on it.

If you haven’t already clicked ‘buy’ or whatever, then I guess I’ve still got something to do here. Music for Public Ensemble is a massive statement, and not just because of the number of people involved. Keeping it cohesive and as beautiful as those first couple of tracks is an unimaginable task which definitely explains why it took 3-4 years to make, but it’s a fine piece of craft, with real care gone into its writing, recording and production.

Throughout the 83 minutes and 14 seconds of its runtime, you’ll hear plaintive neoclassical themes played by an assortment of traditional instruments collide with mangled field recording mush, subtle and tasteful atonal freakouts, spoken word sequences and the occasional electronic/tape drone. It sways brilliantly between major and minor keys, pure beauty and challenging texture, and density and sparseness, all executed with the care of a master composer. Can’t get more lofty than that, huh?

If you’re still not convinced, just give up 12 minutes of your life to ‘Lurida’.

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