Today I’m introducing you to ABBOTT, a dutch composer based in Hamburg, Germany. ABBOTT loves classical music and is also a huge film nerd (cineast might be a better word?).
When my friends were listening to Pharell Williams and Bruno Mars I was listening to the soundtrack of the Shawshank Redemption and Forrest Gump.
He works as a composer for the entertainment industry but occasionally finds time to write music for himself.
Tell us something about your track Never been away!
I would compose on my old, out-of-tune piano I got from my parents. They brought it all the way over from the Netherlands to my studio in Germany. When I finish a general idea of a song I’ll go and arrange the strings. That’s really my favorite part of the process. I really like the piano but my heart belongs to the strings. After two years of working on it, I finally finished all of the songs and I’m going to release my debut album end of this year. The album is going to be Neo-Classical but more theatrical and cinematic. Influences range from Max Richter to Jóhann Jóhannsson. The sound in general is organic and dark, melancholic and intimate, and are marked by my love towards film music.
‘Never Been Away’ is the first single of this album. It’s inspired by an old Irish love story. It doesn’t have a happy end but it is also not a sad story. I’m not going to get in too much detail because I really like if my listeners make up there own stories in their heads.
Thank you for sharing this with us!
Today I’m introducing you to the latest single by Justin Hunter, which I have spotted befor here. Justin is an Australian composer from the Blue Mountains. He’s currently traveling through Sweden (but we haven’t managed to meet yet).
The track Anywhere Elsewhere is released as a single, but will also be featured on an upcoming album later this year.
The working theme throughout the album was to keep my sound raw, perfectly unperfected. I wanted an album full and rich in vibe and feels. No room for production or in making my sound less organic. It is a full recording of just me and the piano.
Tell us something about your track Everywhere Elsewhere!
I recorded the album in Riverwood / NSW. It was more a feeling I was trying to capture. “Anywhere Elsewhere was something that I wanted to have the feeling of a summer vacation. A getaway mood, similar to when you start dreaming of traveling.
Thank you for this Justin!
Some people release music mor often then others. William Ogmundson is one of those who constantly release new music, and who am I to decline a spotted post just because you’re “too creative”? William is an American composer from New Hampshire, and you can read more about him here!
Into the Distance is featured on his latest album La Vie En Coluleurs (I think it might be French, and without knowing French at all I would translate it to The colors of life). The album was released in June 2019.
Tell us something about your track Into the Distance!
Into the distance was recorded at Greg Maroney’s studio in Pennsylvania. I was in the process of recording my album La Vie en Couleurs when I noticed a wooden box sitting in the corner. Greg explained it was a shruti box and how it was a drone that worked off of below like a harmonium, so of course I had to try it out! (Greg had a really cool former life where he made a living playing middle eastern music for a belly dancing troupe, but that’s another story).
So, Greg played the shruti box drone, and I improvised a piano part over it, which became Into the Distance. I tried my hand at the shruti as well and Greg played piano, which became his new single Heart of Darkness. The pieces were like yin and yang-mine was light and cheery-his very dark and brooding, which I found fascinating, since we were both just improvising over the same two-note drone (G and D). I thought it was cool to subtly combine eastern and western cultures on a song, and I’ve never attempted a song before that doesn’t have a chord progression, chorus, bridge, or any of the formal elements of composition. It seems to have a centeredness, a feeling of calm, that is unlike anything else I’ve come up with.
Thank you again for sharing your music with us William!
I’m always a bit frighted when the first thing I hear in a submission is a guitar. But I always listen through the entire song, even if I later decide to decline it. This time, however, I’m more than happy to introduce you to Spanish composer Daniel Herrera Torres a.k.a. Daniel Blacksmith and his song Química.
As the song evolves a lot of different instruments take a chance to introduce themself. Guitar and strings first, but then comes the piano and the circle is complete.
Química is released on the EP Química y Contexto: Destino which is Daniels debut.
Tell us something about your song Química!
I recorded and mixed the full album at my own studio. I recorded and delete the classical guitar of this song four times becuase I could not found the right sound. I had to changed the guitar, the microphone and my nails shape to found it. You can see that to be audio engineer, producer and musician at the same time is not a good idea.
The full album is composed following the same process: First I think and write about the main concept. Then I use the structure of the text to create the song’s structure, melodies and other musical staff. In other words, I try to translate my reflections about a concept to music.
Thank you for this Daniel!
Today I’m introducing you to Australian born composer and pianist Lihla, now basen in Berlin, Germany. Lihla is a classically trained cellist and pianist, and has done lots of work for theater (contemporary circus and dance theatre).
The track Skeleton woman is tasken from the EP Null which was released in the beginning of July 2019.
This EP is a collection is neo-classical pieces that were featured in soundtracks for stage. I realised that I had been composing so much music that was only ever heard within the walls of the theatre. I never recorded any of the live pieces, so when the shows were over, so was the life of the music. This is my way of keeping these stories alive.
Tell us something about your track Skeleton woman!
I like to create little sonic wombs of sound effect and sound scape for really lush melodies. Like an audio magic realist story. I like to play with intricate shifting layers of harmony. Cello had always been my main voice, but I’ve been finding an nostalgic comfort with my piano voice over the last few years – it actually was my first instrument (all those thirty something years ago!)
The skeleton woman is an inuit tale, retold by Clarissa Pinkola Estés. It’s a tale of healing through compassion – for the self, for others, and for the cyclic nature of life and love.
Thank you for sharing this with us Lihla!
Today I’m introducing you to the Belgian pianist and composer Matthias De Jaeger (could that mean the hunter maybe) from Gent in Belgium. Matthias is 34 years old and have played piano since he was six years old. He hasn’t been composing all that time however, but started about ten years ago.
This song is released as a single, but will also be featured on an upcoming album, planned for the autumn in 2019.
Tell us something about your song Living Dream!
This is a song that I composed already more than 5 years ago. For me it is one of my most emotional songs because first of all it tells a moving story. A story about chasing dreams untill they come true. But it is also an important/emotional song because this song ensured that I finally dared to take the step to come out with my music.
Thank you for sharing this with us Matthias!
Today I’m introducing you tusenfoting, or Pelle Kronhamn. Pelle is the brother of a pretty good friend of mine so when I saw him linking to this on facebook and heard piano coming from my computer speakers, it felt like I had to write a little something about it!
Pelle is a musician living in Malmö. He (and his brother Kalle) is part of the metal band Subfret, but he also makes other kinds of music. I don’t really know what to call the song 36/63, so just have a listen and decide for yourself.
The song 36/63 is featured on the EP tusenfoting I which was released in June of 2019.
Tell us something about the compositional theme of the EP!
I make these songs with a piano and my computer alternating between playing parts and making variations by MIDI. All instruments are virtual and all playing is a combination of human hands and programming in varying degrees. The theme throughout the music is variations on themes, changing metre, subdivision, triplets and stuff like that. Most songs have one or maybe two melodies or themes and just vary on those. And of course a few extra melodies on top now and then.
Tell us something about your track 36/63!
36/63 is built on variations on the initial piano melody. From that I changed the metre so it appeared to accelerate twice, specifically the “last part”. The “36” part is actually a small part of a note reversal of “36”, although not so apparent, the same thing is more obvious if you listen to the two other tracks “IV (v.)” & “IV”, where a note for note reversal leads from the end of one track into the other mirroring each other.
Wow. I would really like to take a look into your head sometime when you’re composing. This doesn’t remind me at all of my own composing sessions! Thank you for sharing the music though!
So, the day has finally come! The day when I move the presentation of a new release from the news category to the spotted section. Why it makes sense this time is because I made this song together with Rikard Mathisson. So I could actually let someone else write a presentation for the song since it’s both mine and his.
This song came out on the 5th of July and was released by The Sonder House.
So, Rikard; Tell us something about the song Rowan!
An important part of the music is the inspiration you share with other people both in the mind and in the art, and since we create music that touches each other, it was obvious that we should try to create music together – in the style and era of Nils Frahm and Ólafur Arnalds. Rowan is the first track reaching out like this, hopefully there will be plenty!
You can find all my social links all over the place on this site, but if you’re interested in following Rikard and his upcoming project you should check these links out:
Facebook / Instagram / Twitter / Homepage / Spotify
Today I’m introducing you to Matt Stewart-Evans, a composer from Nottingham, UK currently based in London. Matt is self taught on the piano and together with the Swedish record company 1631 he has gotten over 10 million streams on his first EP Wanderer from 2016.
Today, however, I’m introducing you to his brand new album Solo which contains of seven pieces for the piano.
Tell us something about the album!
The album came together as a collection of solo piano pieces slowly and fairly organically over a period of about 2 years. Up until now, my composing time has been limited to pockets of time in the evenings and weekends alongside a full-time job, so the creative process tends to move quite slowly. However, ‘Retrospect’ came out on the day that I switched to a part-time role to focus on creative endeavours, so this album marks nearly a month into a new creative period for me. No excuses now! I mean, other than money…
Tell us something more about that track Retrospect!
Retrospect was a piece born out of an improvisation that evoked strong nostalgic feelings about being a kid for some reason – it’s not all that often that a piece reminds me of a specific feeling like that. It also resonated with many others when I was ‘road testing’ the pieces, so made sense to me to use as the single. ‘Lulled’ comes in a close second, as it’s one of the first pieces I composed of this collection, and I still love playing it and improvising further with it two years on.
Thank you for sharing this wonderful album with us Matt! And let’s hope you’ll reach 10 million streams on this album as well!
Today I’m introducing you to Australian composer Christopher Dicker based in Melbourne. Like many others, Christopher spend his youth in different bands, but (like many others) he also eventually turned to piano music in 2015. He’s piano composing skills came at the same time as his piano skills, also in 2015. So, what you hear in this song is kind of the result of only four years playing and making music on piano. That’s impressive!
The track Precursor To A Day is taken from the EP Odes To An Early Morning which was released on June the 14th by The Sonder House.
Tell us something about your latest release!
Precursor to A Day is the opening track to an EP titled ‘Odes To An Early Morning’ released on June 14th; a record themed around the still and quiet time of day between midnight and sunrise. The 4 tracks are actually the remnants of a full-length i never finished, so as to move my focus to the soundtrack for Snake Island (the soft-more novel by well known Australian author Ben Hobson) which will be released on August 5th. I enjoyed these tracks and figured i’d release them instead of letting them just site on my hard drive.
Tell us something about your track Precursor To A Day!
This track itself was an unplanned improvisation from this very time of day, recorded one morning when i was up particularly early. It felt to me like that space just before the world wakes up and the day really begins. As I produce my music at home on my piano, sometimes I just push record and play for a while and that is how this happened. You can even hear me sitting down at the piano bench at the beginning of the track – I kinda liked how that sounded so i left it in!
Thank you very much for sharing this song, and this EP with us Christopher!