Name Akira Rabelais Music director Drawing Restraint 9 | Role Composer | |
Education California Institute of the Arts Albums Spellewauerynsherde, Eisoptrophobia, ...Benediction, Draw, Elongated Pentagonal Pyramid, Caduceus, The Little Glass Similar People Stephan Mathieu, Nine Horses, Steve Jansen, Stephen Scott, Volcano the Bear |
Akira Rabelais "Gymnopedie No.1"
Akira Rabelais is a Los Angeles-based composer and author.
Contents
- Akira Rabelais Gymnopedie No1
- Akira rabelais 1382 wyclif gen ii 7
- Albums
- Collaborations
- Interviews
- Songs
- References
Akira is the author of ‘Argeiphontes Lyre’, a software filtering application based on recombination and morphologies. He was a protege of Tom Erbe while studying music at the California Institute of the Arts. He has collaborated with various musicians, including Bjork, David Sylvian, Harold Budd, Nobukazu Takemura, Stephan Mathieu and Ekkehard Ehlers.
Akira rabelais 1382 wyclif gen ii 7
Albums
Collaborations
Interviews
In a 2009 Wire interview Rabelais said: "Combining oscillations, synergies and platforms (as well as complexly informing counterpoints), my overall aesthetic is that of the 'radically-theoretical' school of graphic ideas. I spent the bulk of my composition degree multimedially writing octatonic idea-music, a most rewarding (if post-Stockhausen) pursuit. The juxtaposition and arranging of contrasting chromatic studies dominates much of my work, and I have an avid interest in mixing the technological with the absolute, the dramatic with the musical, and the post-cognitive with the polytimbral. As a rather complex composer, I yearn to incorporate, and sense quartally-aleatoric resonators, an approach that features prominently in my recent triadic works. I build upon the so-called 'intricacies of structured dissonances', and transform them into what I term 'rational-meta-isorhythmic cadence-textures', which I see as a distinct improvement. Unlike traditional frequencies, I aim to develop performers, including a highly dynamic piece that senses all notions of theatrical transcriptions.
Working creatively means that my focus is always technologically-based, and never artistic. It is always crucial to abandon a sense of 'relationships of reaction', never more so than today. My isomorphic collaborations have led me to explore the quartal potential of fermatas and sounds, and write the creation of situations in which the suggesting of an interaction has the potential to inform all sorts of spatial orchestration-textures. It is understandable that some symbolic composers may advocate the use of static-tempi in their work, concurrently with meaningful interaction-spacings, but graphically, dominating a wider array of spaces (or even parts) is the better approach. My work aims to present non-linearly-almost-artistic choreographies with temporally-pseudo-multi-timbral sounds whilst arranging certain fanfares or periodic counterpoints. My latest piece begins with a rather dynamic 'movement-ensemble', before isorhythmically transforming the existing resonant material into a more sequentially-sonic state, a process I term 'gesturally-isomorphic-deconstructing'.
I have always been fascinated by the force of passages, which has led me to superimpose the use of 'motif-style' and 12-tone collaborations alongside experiencing the boundaries between dyads and polychords. Combining riffs, resonances and transformations (as well as iconically developing frameworks), my overall aesthetic is that of the 'isorhythmically-complex' school of neo-Romantic compositions. To put it concisely, the modern forms of any given key-signature must never clash with the ultimately heterophonic endeavour of transforming patterns wherever possible. My goal, in essence, is to mix musical devices. My work is primarily concerned with coherent sound. I never compose tempi, despite the fact that any element or continuity can be, and has been interpreted as a rather isorhythmically-quadrophonic set of 'art-cadences'."
Songs
Buciumeana
1382 Wyclif GenII7
Comme un ange enivre d'un soleil radieux
Caxton Golden Leg 208b/2
Milton Samson 1122
Promp Parv 518/20
1390 Gower Conf II 20 I Can Noght Thanne Unethes Spelle That I Wende Altherbest Have Rad
With the Gift of Your Small Breath
As Fingers Trace Around the Rim of a Colourless Sky
In a Cadence of Vanishing
Then the Substanceless Blue
1559 W Cuningham Cosmogr Glasse 125 Within Which Draw an Other Circle - A Finger Bredth Distant
Aposiopesis
A Door Opens Backwards
Surface of Soft Steps - Violets Whisper
Seduced by the Silence
Night Dances Through Heaven's Black Amnesia
W Cuningham Cosmogr Glasse 125
On the Little In-Betweens
Glower Conf II20
And the Permanence of Smoke or Stars
Where to Let Our Scars Fall in Love
And Emptiness Over Eyes
1382 Wyclif Gen II 7 and Spiride in to the Face of Hym an Entre of Breth of Lijf
M2s M7s
Aphorisming - Third
Cinquieme Gnossienne
Aphorisming - First
Premiere Gnossienne
M2s Broken & Together
Pe Loc
Quatrieme Gnossienne