Mikel Rouse to Release Recess and Corner Loading (Volume 1)

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To commemorate the 10 year anniversary of ExitMusic Recordings, Mikel Rouse will release 2 new CDs: Recess and Corner Loading (Volume 1). The release date will be Dec. 7, coinciding with the opening of Gravity Radio at the Brooklyn Academy of Music’s Next Wave Festival.

To commemorate the 10 year anniversary of ExitMusic Recordings, Mikel Rouse will release 2 new CDs: Recess and Corner Loading (Volume 1). The release date will be Dec. 7, coinciding with the opening of Gravity Radio at the Brooklyn Academy of Music’s Next Wave Festival. (Descriptions of both recordings are below). Recess and Corner Loading will be available via iTunes, Amazon, CD Baby, CD Connection and CD Universe and on disc through All Major Retail Stores and through Exit Music Recordings on December 7. Both CDs will be available for Pre-Order from iTunes on November 2.

In addition to Mikel’s season at BAM, there will be retrospective exhibitions of his visual work and screenings of his films. See Mikel Rouse Fall 2010 Season at a Glance below for details, locations and times.

Rouse is perhaps best known for his modern media trilogy: Failing Kansas, Dennis Cleveland and The End Of Cinematics, presented for the first time in repertory in 2008 at the Luminato Festival in Toronto. Praising part one, the Washington Post wrote “There is no standard vocabulary adequate to describe Failing Kansas…for full appreciation, it should be seen more than once.” Of part two, Dennis Cleveland, Daily Variety wrote “highly sophisticated, using imaginative harmonies, contrapuntal techniques (even fugue!), complex overlays of rhythm and Minimalist phasing, rap and hip-hop. It is a musical language substantial enough to make statements, direct enough to make theater.” And the Toronto Star said of The End Of Cinematics: “If the job of an artist is to upset expectations, stimulate the viewers’ imaginations, critique the corporate driven culture and expand the possibilities of any given genre, then Mikel Rouse is at the top of his league.” For full bio and more info on Mikel Rouse, please visit http://www.mikelrouse.com.

For Press Inquiries, please contact Publicity at: Exit Music Recordings
Telephone: 212.757.9462
Email: email(at)mikelrouse(dot)com

Mikel Rouse Fall 2010 Season at a Glance:

  • To commemorate the 10 year anniversary of ExitMusic Recordings, Mikel Rouse will release 2 new CDs: Recess and Corner Loading (Volume 1). The release date will be Dec. 7, coinciding with the opening of Gravity Radio at BAM’s Next Wave Festival (Dec 7, 9, 10 & 11.

(-Descriptions of both recordings are below-). See the promo trailer for Gravity Radio here: http://www.bam.org/view.aspx?pid=2239

  • Passport: 30 Years Drawn on the Road, New York Public Library for the Performing Arts at Lincoln Center, Plaza Corridor Gallery. A collection of never before exhibited sketches and water colors from Mikel Rouse’s touring career, selected from over 200 sketchbooks. The exhibition will also include music manuscripts, original librettos, cartoons and memorabilia from performances. The exhibition opens December 8, 2010 through January 29, 2011 with a cocktail reception on Wednesday, December 8 at 6:30 PM. A complementary retrospective exhibit of Rouse’s work will be presented at the Margarite Roeder Gallery opening Monday, December 6th.
  • A film retrospective of Mikel Rouse’s films including the feature film Funding (2001), the performance film Music For Minorities (2003) and the original feature film of The End Of Cinematics (2005). (The altered live production version of The End Of Cinematics was presented at BAM’s Next Wave Festival in 2006). A special screening at the Bruno Walter Auditorium at Lincoln Center at 6PM on Dec 15, followed by an installation at the New York Public Library for the Performing Arts at Lincoln Center in mid-December.
  • The New York Public Library for the Performing Arts at Lincoln Center will announce the formal acquisition of the Mikel Rouse Archive and will commemorate this event with a multifaceted celebration featuring historic materials from the archive.

Recess and Corner Loading (Volume 1) Descriptions

Recorded between October 2008 and November 2009, Recess is a lyrical reflection on the state of the world economy and the “reset” taking place before our eyes and ears. Inspired by Rouse’s work with Merce Cunningham and iPods (Rouse completed a score for Cunningham, International Cloud Atlas, that incorporated iPods set to shuffle so that each audience member had a unique version of the score) Rouse has collected field recordings and then orchestrated those sounds with multiple voices and instruments. The field recordings reflect every imaginable sound, from a couples’ quarrel in a NYC park to cicadas in his native Missouri. Recordings of random conversations are vocally doubled and harmonized to enhance and heighten their meaning. While most people use mobile music players to “tune out” their environment, Recess takes the mobile device to a truly collaborative level. The experience of listening to Recess on an mp3 player or iPod while walking though a city environment is a new kind of mobile listening experience. WARNING: Extreme caution should be used while listening to this music in a public environment or while driving.

Corner Loading (Volume 1) is a solo vocal/guitar recording that attempts to blend Rouse’s polymetric style of writing with country blues techniques. The title comes from an early method of recording a singer/guitarist facing a corner to naturally “roll off” the high and low end of the recording. Taking up where the blues left off after the so called British Invasion, Rouse imagines what might have happened if the blues hadn’t become absorbed in a traditional 12 bar band constraint. Many artists in the 1930’s were dealing intuitively with micro-tonality and shifting rhythmic motifs. Rouse uses modern tempo canons and cross rhythms between the voice and guitar to create a recording that is both old and new at the same time. Similarly, he takes a subtle humanist approach to the lyrics to contrast and highlight the uneasy relationship between faith and belief and the often contradictory messages in early blues (commonly referred to as “the Devil’s Music”).

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