Sarah Belle Reid
NOWS from David Rosenboom and Sarah Belle Reid is a captivating expression of the radical challenges brought on by the COVID-19 pandemic. The music examines the notion of “co-presence,” or togetherness, when experienced in isolation. This seemingly self-contradictory concept became an everyday occurrence as in-person gatherings became video conferences. Performer-composers Reid and Rosenboom spent this time passing fragmented musical ideas back and forth. In this organic way, a collection of “sound correspondences” accumulated between the two artists, made with instruments ranging from strings and horns to modular synthesizers, analog signal processors, urban and desert soundscapes, and much more. The resulting album, NOWS, is a post-genre masterpiece that speaks to our unique moment in history.
Choose your platform
Track Listing & Credits
|01||Never Know Night Ears||Sarah Belle Reid & David Rosenboom||Sarah Belle Reid, David Rosenboom||2:34|
|02||Accelerated Mitosis||Sarah Belle Reid & David Rosenboom||Sarah Belle Reid, David Rosenboom||4:08|
|03||Bowing Stream Invitation||Sarah Belle Reid & David Rosenboom||Sarah Belle Reid, David Rosenboom||15:17|
|04||Morphcycle||Sarah Belle Reid & David Rosenboom||Sarah Belle Reid, David Rosenboom||3:35|
|05||Pluck Ping Scatter||Sarah Belle Reid & David Rosenboom||Sarah Belle Reid, David Rosenboom||6:12|
|06||Softspace||Sarah Belle Reid & David Rosenboom||Sarah Belle Reid, David Rosenboom||5:52|
|07||Before Cove x Two||Sarah Belle Reid & David Rosenboom||Sarah Belle Reid, David Rosenboom||2:27|
|08||Folded Orbit||Sarah Belle Reid & David Rosenboom||Sarah Belle Reid, David Rosenboom||4:12|
|09||Time-Sound Canvas Fire Brush||Sarah Belle Reid & David Rosenboom||Sarah Belle Reid, David Rosenboom||6:27|
|10||Concurring||Sarah Belle Reid & David Rosenboom||Sarah Belle Reid, David Rosenboom||11:28|
|11||Tolling||Sarah Belle Reid & David Rosenboom||Sarah Belle Reid, David Rosenboom||5:09|
Recorded 2021 at the composers’ studios in Little Rock AR & Valencia CA
Recording, Editing, Mixing & Engineering Sarah Belle Reid, David Rosenboom
Mastering Shaun Michaud
Supported in part by the Roy E. Disney Family Chair in Musical Composition at CalArts.
David Rosenboom is a Yamaha Artist.
All compositions Copyright © Sarah Belle Reid and David Rosenboom and the David C. Rosenboom 2013 Trust 2022. Published by Sarah Belle Reid Publishing (ASCAP) and David Rosenboom Publishing (BMI).
Recording Copyright ℗ Sarah Belle Reid and David Rosenboom and the David C. Rosenboom 2013 Trust 2022. All rights reserved.
The nature of the co-creative process through which this project emerged resulted in an array of electronics, acoustic instruments, and other sounds appearing across the tracks of NOWS.
Sarah Belle Reid Quarter-tone flugelhorn, piccolo & C trumpets, Buchla modular synthesizer, voice, MaxMSP, no-input mixer, Make Noise Strega, Eurorack modular synthesizer, field recordings, bowed metal, and amplified household objects.
David Rosenboom NS five-string electric violin, Buchla 200 series modular synthesizer, Eurorack modular synthesizer, Make Noise 0-Coast and 0-Ctrl, Lexicon MPX1, computer (with original software written with Reaktor), voice, tuning forks, ocarina, Aboriginal clap sticks, lizard rattle, herald trumpet, rawhide and wood drum, monkey drum, tambourine jingles, numerous original samples used in Soundhack Morphagene, field recordings, and other sounding objects.
Executive Producer Bob Lord
A&R Director Brandon MacNeil
A&R Danielle Sullivan
VP of Production Jan Košulič
Audio Director Lucas Paquette
VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming, Morgan Hauber
Publicity Patrick Niland, Aidan Curran
Sarah Belle Reid
Sarah Belle Reid is a performer-composer who plays trumpet, modular synthesizer, and an ever-growing collection of handcrafted electroacoustic instruments. Her unique musical voice explores the intersections between contemporary classical music, experimental and interactive electronics, sound installation, visual arts, noise music, and improvisation. Often praised for her ability to transport audience members through vivid sonic adventures, Reid’s sonic palette has been described as ranging from “graceful” and “danceable” all the way to “silk-falling-through-space,” and “pit-full-of-centipedes” (San Francisco Classical Voice).
David Rosenboom is a post-genre composer-performer, interdisciplinary artist, author, and educator known as a pioneer in American experimental music. Since the 1960s, his multi-disciplinary work has traversed ideas about spontaneously evolving musical forms, languages for improvisation, new techniques in scoring, cross-cultural and large-form collaborations, performance art and literature, interactive multimedia and new instrument technologies, generative algorithmic systems, art-science research and philosophy, and extended musical interface with the human nervous system. He was Dean of The Herb Alpert School of Music at California Institute of the Arts from 1990 through 2020, where he now holds the Roy E. Disney Family Chair in Musical Composition.
Universes of multiple independent nows, each with its own synthesized past and projected future—perhaps this might be a useful way to imagine the grainy fabric of existence. Nows are the places where actions are initiated.
This musical project is a collection of convergences created through a unique collaborative process: co-creative sound correspondences. Propelled by our history of concurrent investigations into the origins of multiple times, conceptual spaces and notations, adaptive instrument interfaces, sonic imaging and improvisation, and subtle perspectives on lived musical nows, we were in the process of developing ideas for duo performance and recording projects, when, unexpectedly, our world was confronted by radical challenges brought on by nature. A pandemic dematerialized the primacy of events. Gatherings were exchanged for remote interactions.
For us, new questions began to emerge: what is the meaning of co-presence, if only experienced in isolation? How can we cultivate, consider, and collect spontaneous, shared nows, without being temporally or spatially co-present?
Starting with no goal other than to listen and play, we sent sonic ideas and fragments back and forth to each other, gradually collecting threads, themes, and commonalities. These links revealed themselves in surprising ways, emerging from experiments, transference, and concurrent imagining. A frenzy, a dance, a reverie, a pause, a corridor, a leap, a shattering, a whisper, . . . ear-stopping musical moments emerged as we navigated and validated alternative means of converging on a musical co-presence in an altered world, finding new pathways for co-creation.
Spanning nearly a year, a collection of non-linear sound correspondences accumulated, made with strings, horns, broken circuits, modular synthesizers, night bugs, voices, metal springs, no-input mixer feedback, forests, clap sticks, rattles, jingles, small drums, tuning forks, fire, gongs, vintage analog and digital signal processors, computers and software, instrument interfaces, mountain streams, tuned metal tines, urban and desert soundscapes, and other miscellaneous sounding objects. Individually, we pieced these constructions together to create, explore, and witness an entirely new passing of time—layering moments, folding time, connecting nows. A single sonic fragment from a previous reflection might reveal a new thread to follow, leading to something unknown, a discovery.
Eventually, these co-creative sound worlds seemed to gravitate around certain centers: nature-informed environments, sound texture architectures, interstellar improvisations, and a multiplicity of narrative orbits. Hopefully, our process and its outcomes reflect and illuminate some of the qualities of our times, our nows, on our planet, its organisms, and their ever-evolving, information-energy exchange rituals with our environment.