The Website containing all 50 songs can be found here

https://www.cmc.ie/AmhrainEalaineGhaeilge

‘Today, we release the first track from composer Jonathan Nangle’s new album, Pause, which features luminous recordings by Crash Ensemble. The album’s title track is now available across digital platforms, and the album (released 14 July) is available to pre-order.

Pause is the debut album from a composer whose work draws on a carefully selected palette of ravishingly beautiful materials. This is music of serene focus; often fragile, always intricately woven.

The mercurial title track, Pause, was inspired by the idea of data glitches in both music and visual media. A snippet of music by early twentieth-century American composer Charles Ives is processed, rearranged and deliberately glitched, serving as as a springboard to new material.

The track Pause was commissioned by The Dock for Crash Ensemble, with funds provided by the Arts Council / An Chomhairle Ealaíon’.

Ergodos – Pause, ER 27

Sebastian Adams on viola, Jonathan Nangle on electronics and guitar.

Electronics involve Max patches, electromagnetic pickups, sequencers and all sorts of other gizmos.

This project was presented with the kind and generous support of the Dun Laoghaire Rathdown Musician in Residence scheme 2016.

Download from Bandcamp.

“The Past Presence” highlights The Dock’s culture of commissioning new work, and revisits works past and new interests as part of our 10 year anniversary.

Aideen Barry ‘s new work “Not to be named” is titled after Dante’s reflection on monsters, as the ones “not to be named nor understood”? This short film draws us to question where the horror actually lies? Maybe it’s in the mountains of madness’s we have created ourselves? “Not to be named” plays with the monstrous and human expressions of emotion through the endless nightmare of domestic drudgery and compulsive consumption.

Commissioned by The Dock 10 years ago Landscapes by Karl Burke and Mark Garry reflected upon notions of a specific place, its histories, stories and mythologies. It has gone on to be shown in London, Paris, Vilnius, New York and Sydney. This was the first film work made by both artists. Ten years later, we are re-presenting the work with new sound elements composed from field recordings and guitar.

First and foremost a composer, Jonathan Nangle’s compositions explore many diverse fields ranging from inter­active install­ation, to notated acoustic and electro-acoustic sound and improvisation. Pause is new commission by the Dock in association with Crash Ensemble featuring the young Irish ballet dancer Jamie Haughton. PAUSE emerged from a short two bar phrase from Charles Ives ‘Concord Sonata’ (1919). The second work ‘(sighing): oh…but we were monsters’ was directly inspired by Alvin Lucier and is largely synthesised from sine tones through custom built software and processed guitar samples. The third work Breath is an Audio-Visual Installation producing algorithmically generated rhythmic sequences.

PAUSE from Jonathan Nangle on Vimeo.

– Jeremy Condliffe (The Chronicle)

‘grow quiet gradually’ builds on a brief (5 minute) composition
utilizing two chords that morph, interact, and repeat
within minimalist parameters, all to great effect.

– Rafael de Acha (Music for All Seasons)

This episode continues the series exploring the new music of Ireland. John Schaefer sits down with Jonathan Nangle at the Contemporary Music Centre in Dublin.

Nangle tells how Donnacha Dennehy influenced him to explore more experimental music, and then shares how electronics and silence factor into his compositions.

Listen to how Nangle uses electronics to subtly augment conventional instrumentation on “Where distant city lights flicker on half-frozen ponds”. Hear Nangle explain how his piece “Then Falls by Shadow” takes the inspiration of Irish weather to combine shuffle mode with a choral performance.