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here, apparently, there was time for everything [2015]

from Lines of Flight by GreyWing Ensemble

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about

Lindsay Vickery
here, apparently, there was time for everything [2015] for soprano saxophone, electric guitar, harp and electronics.

here, apparently, there was time for everything began as an improvisation for “no-input” bass clarinet - a technique involving placement of a microphone inside the bell and manipulation of the resulting feedback from a speaker by adjusting instrument position and open fingerings. The technique allows long feedback tones to be “played” without the performer initiating any reed vibration. The improvisation was later electronically processed and then transcribed for GreyWIng directly from a spectrogram.

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from Lines of Flight, released March 25, 2018
Lindsay Vickery has been active as a composer and performer across Europe, the USA and Asia since 1986. His music includes works for acoustic and electronic instruments in interactive-electronic, improvised or fully notated settings, ranging from solo pieces to opera and has been commissioned by numerous groups for concert, dance and theatre. He was a Churchill Fellow and held residencies at STEIM (Holland), HarvestWorks, Tokyo Wondersite and numerous universities. He was a founding member of Alea New Music Ensemble, Magnetic Pig, SQUINT, HEDKIKR (2002-), Decibel (2009-) and GreyWing (2016-).Lindsay is active as a lecturer, writer and critic and is a regular contributor to internationaljournals and conferences, publishing on subjects such as expanded music notation, interaction with field recordings and spectral analysis as a compositional tool. He is thecoordinator of composition and music technology at the Western Australian Academy of Performing Arts. [www.lindsayvickery.com]

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GreyWing Ensemble Perth, Australia

GreyWing is an Australian new music group exploring and creating repertoire for harp (Catherine Ashley), electric guitar (Jameson Feakes) and winds (Kirsten Smith and Lindsay Vickery) and electronics. Important thematic strands in the group’s exploration have included environmental music, political commentary, text, generative works, improvisation and noise. ... more

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