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Ben Vida with Yarn/Wire and Nina Dante // The Beat My Head Hit LP

Ben Vida with Yarn/Wire and Nina Dante // The Beat My Head Hit LP

¥3,980
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This is a record released by American electronic writer Ben Vida in May 2023 on French experimental label Shelter Press.

Co-written by the Yarn/Wire ensemble and vocalist Nina Dante, it uses voice, piano and percussion as its main sources.

Unlike previous styles,Includes 5 songs with a strong acoustic ambient color. Comes with DL code. 

Below is a commentary by the label.

"Ben Vida's music has so far explored the resonance of text outside of electronic music, but here, in collaboration with the Yarn/Wire quartet and vocalist Nina Dante, the voice and the words it inhabits become the time of the song. Back on axis, the combination of subdued melodies and heightened atmosphere gives this music a familiar feel, with a soft feel, like it was made in a band: piano, percussion and voice. The simultaneous efforts of the four butlers create a structure that seems to float in mid-air.The pace of the five works is fast and slow, but never overtakes or distorts the words. You can find the story in the words being sung, if you need it.

But there are also unfamiliar dimensions.There are many threads, many timelines. One story, or a thousand stories, or a collection of scraps...a complete yet raw language, a language that can be translated and a language that can't be translated.Singers who fuse with their breath.Questions and answers, both sides of a conflict, a sense of being here or there, conflicts and dualities gravitate to one emotion and become plural with emotion.Voices collectively negotiate how to express a stance.Musical cues add tension when needed.

The five pieces that make up The beat my head hit have their roots in Vida's 5 performance for four voices and electronics, "And So Now" at BAM in Brooklyn. It was developed. Founded in 2018, the Yarn/Wire Ensemble has collaborated with a wide range of experimental composers and sound artists since its inception, most recently by Sarah Hennies, Annea Lockwood, Katherine Lamb and Alvin Lucier. is being performed.Meanwhile, Vida continues to be both a musician and a visual artist, producing drone-influenced solo works for electronics and improvisational collaborations with musicians such as Martina Rosenfeld and Lea Bertucci. . Working with Yarn/Wire was like joining a band for Vida.After a few early live performances, the material changed in a number of ways in the studio, and in the process Vida, Dante, Russell Greenberg, and Laura Berger explained that Vida was "a blend of four voices. I have created what I call 'meta voices'.Sustained presence—language leading the group to a place where they breathe in unison—is the backbone of this work.

While its presence is an engine, it is full of negative space and breath.For example, the subtle harmony created by the inevitable narrowing of the distance between Vida's and Dante's voices has a thrilling feel that makes you lose your strength.Also, is the introduction of underground bass in "Drawn Evening" breathtaking?When, instead of the title song's tongue twisters, suddenly an ambient stillness creeps in, I feel that verbal escape is also a form of breathing. The Beat My Head Hit finds a kind of peace instead of finding truth and reality in what is happening around it. "

Labels and other works Click here for more information. ///Click here to see more Shelter Press / Recollection GRM / Ideologic Organ releases available at Tobira. 

------------------------------

12" black vinyl. Comes with DL code.

Shelter Press:

"Where Ben Vida's music has previously explored the sound of text at the outer register of electronic composition, here, in collaboration with the Yarn/Wire quartet and the vocalist Nina Dante, the voice and the words it works to inhabit are placed back at the time -scale of a song. There is a familiarity to this music's combination of restrained melody and heightened atmosphere. It feels, softly, like it's made by a band: piano, percussion, voice. A composition kept aloft and even by its four stewards through a simultaneity of effort. The pace, across five pieces, hurries and relaxes but never outruns or distends language. You could find a story in the words being sung, if that's what you need.

But there are unfamiliar dimensions too. So many threads, so many timelines. A story or a thousand, or a litany of scraps: language complete but raw, language that can or cannot be translated. Singers fused at the breath. Oppositions or dualities— a question and an answer, two sides of a conflict, the sense of being here or over there—are drawn together into a single sentiment, plural with feeling. Voices negotiating in unison how to articulate a stance. .

The five pieces that make up The beat my head hit were developed with Yarn/Wire over the last four years, with roots in Vida's 2018 performance for four voices and electronics “And So Now” at BAM in Brooklyn. The Yarn/Wire ensemble, founded in 2005, has been collaborating with a broad range of experimental composers and sound artists since its inception: most recently, they have performed work by the likes of Sarah Hennies, Annea Lockwood, Catherine Lamb, and Alvin Lucier. Vida, meanwhile, has maintained a practice as both a musician and a visual artist, which has included drone-leaning solo work for electronics as well as improvisatory collaborations with musicians including Martina Rosenfeld and Lea Bertucci. Working with Yarn/Wire, for Vida, was something like joining a band. Following a few early live performances, the material was worked through in the studio across many permutations, a process during which Vida, Dante, Russell Greenberg, Laura Barger created what Vida calls “a meta-voice out of the blending of our four voices.” Sustained presence—language bringing a group to the place of breathing in unison—becomes the backbone of the piece.

That presence is an engine, but it's still full of negative spaces and exhales. It's thrilling, for example, to find oneself disarmed by the subtle harmonies introduced by the inevitable but infinitesimal distance between Vida and Dante's voices. Or the introduction of subterranean bass on “Drawn Evening”: breath trapped? When ambient stillness steps in out of nowhere to replace fast talk on the title track, the evacuation of language is some other form of breath, too. what happens at the periphery, but a kind of peace.
 "

Artist: Ben Vida w/ Yarn/Wire and Nina Dante

Label: Shelter Press

This is a record released by American electronic writer Ben Vida in May 2023 on French experimental label Shelter Press.

Co-written by the Yarn/Wire ensemble and vocalist Nina Dante, it uses voice, piano and percussion as its main sources.

Unlike previous styles,Includes 5 songs with a strong acoustic ambient color. Comes with DL code. 

Below is a commentary by the label.

"Ben Vida's music has so far explored the resonance of text outside of electronic music, but here, in collaboration with the Yarn/Wire quartet and vocalist Nina Dante, the voice and the words it inhabits become the time of the song. Back on axis, the combination of subdued melodies and heightened atmosphere gives this music a familiar feel, with a soft feel, like it was made in a band: piano, percussion and voice. The simultaneous efforts of the four butlers create a structure that seems to float in mid-air.The pace of the five works is fast and slow, but never overtakes or distorts the words. You can find the story in the words being sung, if you need it.

But there are also unfamiliar dimensions.There are many threads, many timelines. One story, or a thousand stories, or a collection of scraps...a complete yet raw language, a language that can be translated and a language that can't be translated.Singers who fuse with their breath.Questions and answers, both sides of a conflict, a sense of being here or there, conflicts and dualities gravitate to one emotion and become plural with emotion.Voices collectively negotiate how to express a stance.Musical cues add tension when needed.

The five pieces that make up The beat my head hit have their roots in Vida's 5 performance for four voices and electronics, "And So Now" at BAM in Brooklyn. It was developed. Founded in 2018, the Yarn/Wire Ensemble has collaborated with a wide range of experimental composers and sound artists since its inception, most recently by Sarah Hennies, Annea Lockwood, Katherine Lamb and Alvin Lucier. is being performed.Meanwhile, Vida continues to be both a musician and a visual artist, producing drone-influenced solo works for electronics and improvisational collaborations with musicians such as Martina Rosenfeld and Lea Bertucci. . Working with Yarn/Wire was like joining a band for Vida.After a few early live performances, the material changed in a number of ways in the studio, and in the process Vida, Dante, Russell Greenberg, and Laura Berger explained that Vida was "a blend of four voices. I have created what I call 'meta voices'.Sustained presence—language leading the group to a place where they breathe in unison—is the backbone of this work.

While its presence is an engine, it is full of negative space and breath.For example, the subtle harmony created by the inevitable narrowing of the distance between Vida's and Dante's voices has a thrilling feel that makes you lose your strength.Also, is the introduction of underground bass in "Drawn Evening" breathtaking?When, instead of the title song's tongue twisters, suddenly an ambient stillness creeps in, I feel that verbal escape is also a form of breathing. The Beat My Head Hit finds a kind of peace instead of finding truth and reality in what is happening around it. "

Labels and other works Click here for more information. ///Click here to see more Shelter Press / Recollection GRM / Ideologic Organ releases available at Tobira. 

------------------------------

12" black vinyl. Comes with DL code.

Shelter Press:

"Where Ben Vida's music has previously explored the sound of text at the outer register of electronic composition, here, in collaboration with the Yarn/Wire quartet and the vocalist Nina Dante, the voice and the words it works to inhabit are placed back at the time -scale of a song. There is a familiarity to this music's combination of restrained melody and heightened atmosphere. It feels, softly, like it's made by a band: piano, percussion, voice. A composition kept aloft and even by its four stewards through a simultaneity of effort. The pace, across five pieces, hurries and relaxes but never outruns or distends language. You could find a story in the words being sung, if that's what you need.

But there are unfamiliar dimensions too. So many threads, so many timelines. A story or a thousand, or a litany of scraps: language complete but raw, language that can or cannot be translated. Singers fused at the breath. Oppositions or dualities— a question and an answer, two sides of a conflict, the sense of being here or over there—are drawn together into a single sentiment, plural with feeling. Voices negotiating in unison how to articulate a stance. .

The five pieces that make up The beat my head hit were developed with Yarn/Wire over the last four years, with roots in Vida's 2018 performance for four voices and electronics “And So Now” at BAM in Brooklyn. The Yarn/Wire ensemble, founded in 2005, has been collaborating with a broad range of experimental composers and sound artists since its inception: most recently, they have performed work by the likes of Sarah Hennies, Annea Lockwood, Catherine Lamb, and Alvin Lucier. Vida, meanwhile, has maintained a practice as both a musician and a visual artist, which has included drone-leaning solo work for electronics as well as improvisatory collaborations with musicians including Martina Rosenfeld and Lea Bertucci. Working with Yarn/Wire, for Vida, was something like joining a band. Following a few early live performances, the material was worked through in the studio across many permutations, a process during which Vida, Dante, Russell Greenberg, Laura Barger created what Vida calls “a meta-voice out of the blending of our four voices.” Sustained presence—language bringing a group to the place of breathing in unison—becomes the backbone of the piece.

That presence is an engine, but it's still full of negative spaces and exhales. It's thrilling, for example, to find oneself disarmed by the subtle harmonies introduced by the inevitable but infinitesimal distance between Vida and Dante's voices. Or the introduction of subterranean bass on “Drawn Evening”: breath trapped? When ambient stillness steps in out of nowhere to replace fast talk on the title track, the evacuation of language is some other form of breath, too. what happens at the periphery, but a kind of peace.
 "

Artist: Ben Vida w/ Yarn/Wire and Nina Dante

Label: Shelter Press