Part I: The album. So first things first, I’m unbelievably proud to share that the Invisible Cities album will be available on November 4th from The Industry‘s new venture, The Industry Records. The album was produced, mixer, and recorded by the sonic magician, Nick Tipp, who was also the lead sound engineer in the live production. The entire original cast and orchestra returned for the recording session at Citrus Arts in Glendora, CA. And after hours and hours and hours of editing and mixing, it’s here!
You can pre-order both the digital edition and the absolutely gorgeous limited-edition CD/Memory Box directly from The Industry right now. Starting on the 4th, the album will be available through all the normal outlets (iTunes, Amazon, the dreaded Spotify, and more)!
But wait there’s more. There entire album is currently streaming at KCRW. Not only that, but I wrote a little bit about the whole process at The Industry’s blog, which features photos and a little more of an “insider’s” perspective on the whole process. Finally special thanks must be given to The Aaron Copland Fund for Music, New Music USA, and Elizabeth and Justus Schlichting for providing the support to make this album possible.
Part II: Tha Times. So, some other exciting things that have been happening. My mug appeared in the local paper recently:
Let me explain: My friend Austin Wintory curated a really interesting concert, featuring music from concert music, film, and video games. I liked it. Here’s the article. They were kind enough to stream my piece How to Breathe Underwater.
Part III: New works! If you’re still reading, I just want to make a few notes about what else is happening in my composing life. Last weekend, the Cornell Glee Club premiered a new commission entitled “Not One Word” based on a text by the Zen monk and hermit, Ryōkan. I was lucky enough to go up to Ithaca and work with them. They are an amazing and relentlessly enthusiastic group led by the amazing Robert Isaacs, who is working really hard to bring new and exciting commissions to the group every year.
Later this season will be a rush of premieres: the amazing eighth blackbird will bring Hand/Eye—a collaborative project composed with Sleeping Giant—into the world this coming March in Richmond. It will be given its professional premiere in June at the Great Lakes Music Festival. My new Violin Sonata commissioned by the amazing duo of Rachel Lee Priday and David Kaplan, will come into this world in March in Florida. They’ll be touring the piece next season as well. Sleeping Giant has also been hard at work on two really cool projects with the Albany Symphony. In March, we’ll present a recomposed version of the Mozart Requiem. And in May, the Albany Symphony’s rogue band The Dogs of Desire will premiere a new collection of songs featuring Theo Bleckmann. More on both those collaborations here.
And last but not least, the LA Philharmonic will be giving the premiere of a new piece for soprano and chamber orchestra featuring Hila Plitman and conducted by John Adams. I’m writing it right now! There’s triangles.
HOKAY, that was a lot. I promise to update more periodically, and less densely.