sit back and sample the really cool electronic, soundscape, and instrumental music available from earsay. Below are tracks that appear on our commercial releases, as well as tracks that are exclusively available for your listening pleasure on this page.
If you just want to hear excerpts from each of the tracks on our commercial releases, go to soundshop
Organic Delerium Andrew Czink
from Escape Velocity
deleriously vital solo piano. Czink wrings orchestras from his instrument.
from Without Fear
6 weeks on the RPM playlist between 3rd and 15th place at CFRC 101.9 FM, Radio Queen's University, (Kingston, Ontario, CANADA). Award-winner and it sounds great too. All sounds are manipulated violin sounds...but sometimes you would never know it!
...soretes de punta Damián Keller from Touch ‘n’ Go
In Argentina, when it is raining hard we say "están cayendo soretes de punta." This expression can be translated in many ways. The falling things can be cats and dogs, shoelaces, buckets of knives. Armed with two sounds and my tools for environmental sound synthesis, I went out to search for "soretes de punta."
MU Giorgio Magnanensi / Andrew Czink
a work for piano and live processed audio. Performed live in concert with a gorgeous processed video by David Murphy & Hans Samuelson, MU explodes both the visual and aural experience of the piano.
GioCzink The Jam Session Giorgio Magnanensi / Andrew Czink web exculsive
an unbelievable improv on piano and live processed audio. Czink and Magnanensi let loose after the MU recording session.
shadeless, peopled Andrew Czink
from Harangue 1
A shadeless road peopled with ghosts. The feeling of it; that strangeness when everything is distorted from the heat. Ghosts sing an ancient Greek hymn to the sun. Voices. Metal. Soundscrape.
Astonishing Sense of Being Taken Over by Something Far Greater Than Me Susan Frykberg
from Astonishing Sense
The work is based structurally and textually on the process of giving birth. The title is taken from a description by my sister Margaret Bendall of giving birth to one of her sons. Her voice opens and closes the work, and is heard, highly processed, at specific structural points. The tape part also contains granulated violin, synthesized and natural sounds. The work is based on moments of contraction and extension, mirrored by the violinist who alternates playing with prayer.
Nancy DiNovo, Violinist A former member of the St. Louis, Toronto and Boston Symphony Orchestras, Nancy DiNovo has served as concertmaster and solo violinist of the Canadian Chamber Ensemble, the Te Deum Ensemble, and was founding concertmaster of the Tafelmusik Baroque Orchestra. She has premiered numerous works written expressly for her. An avid chamber musician she performs recitals on both modern and period instruments. She is currently a principal player in both the CBC Vancouver and Vancouver Opera Orchestras, and is on the faculty of the University of British Columbia.
To Lions Gate Damian Keller
from Touch ‘n’ Go
The basic materials for this piece are the sounds of Lions Gate Bridge. A continuum of natural and artificial sounds was obtained through real-time granular synthesis, phase vocoding and spectral mutation. The slow transformations and sudden contrasts of the sound material suggest images which always move forward in time and space. The piece does not literally reproduce the environmental sounds but evokes sensations suggested by the bridge’s soundscape.
Sere Giorgio Magnanensi
from Harangue 1
Simultaneity, policentricity and overlapping points of view are the characteristic elements of this work. The sound texture is not merely the addition or subtraction of a number of isolated events, but is a more complex combination of sound events that works in a strategy of an imaginary scenography.
Copper Flying [opening] John Oliver
from Icicle Blue Avalanche
is a work from my Volatility Project which combines my love of guitar and electronic music in a volatile performance situation. The work is a vibrant improvisation between myself, playing spinning virtual metal on MIDI guitar (among other sounds), and an attentive MacIntosh computer (bell sounds, etc.). I take a painterly approach, blending carefully-crafted sounds to create rich and ever-changing textures.
Talking Rain Hildegard Westerkamp
from Harangue 1
Rainsounds from the westcoast of British Columbia, Canada are the basic compositional materials for Talking Rain. Through them I speak to you about this place. The raincoast. A lush and green place. Made that way by rain. Nourished by rain, life-giving rain. The ear travels into the sonic formations of rain, into the insides of that place of nourishment as well as outside to the watery, liquid language of animals, forests and human habitations. Talking Rain was commissioned by CBC Radio for Westcoast Performance. It was realized in my studio, Inside the Soundscape. Thanks to Norbert Ruebsaat for providing his recordings of ravens, eagles and frogs from Haida Gwaii (Queen Charlotte Islands); the World Soundscape Project’s environmental tape collection at Simon Fraser University; and David Grierson. Special thanks to John Siddall, producer of Westcoast Performance for challenging me to create a radio piece with sounds that must be the most difficult sounds to broadcast! Talking Rain is dedicated to my friend and partner Peter Grant.