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David Bird

New York, NY         

David Bird is a composer and multi-media artist based in New York City. His work explores the dramatic potential of electroacoustic and mixed media environments, often highlighting the relationships between technology and the individual. His work has been performed internationally, at venues and festivals such as the MATA festival in New York City; the Gaudeamus Festival in Utrecht, Netherlands; the Wien Modern Festival in Vienna, Austria; the SPOR festival in Aarhus, Denmark; the IRCAM Manifeste Festival in Paris, France; the Festival Mixtur in Barcelona, Spain. He has composed and collaborated with groups like the Ensemble Intercontemporain, the Jack Quartet, the Bozzini Quartet, Yarn/Wire, the Talea Ensemble, Mantra Percussion, the Mivos Quartet, the Austrian Ensemble for Contemporary Music (OENM), AUDITIVVOKAL Dresden, Ensemble Proton Bern, Loadbang, the TAK Ensemble, Ensemble Moto Perpetuo, and the Nouveaux Classical Project.

He is a founding member of the New York-based chamber ensemble TAK, and an artistic-director with Qubit New Music, a non-profit group that curates and produces experimental music events in New York City.

drop – for string octet and strobe lights

In the novel Agapē Agape, William Gaddis’ interpretation of late capitalism is grounded in the growing resemblance between art and commerce, both of which appeared to him to be thoroughly mechanized. If the juxtaposition of terms, Agapē Agape, suggests the “wholeness” of the prior, collapsing into the latter, then “Drop” explores this deepening gap; it also refers to the dramatic formal device employed in many genres of popular electronic dance music.

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mediums – for two percussionists, two pianists, and video

In the spring of 2015 I traveled with the members of Yarn/Wire to several different locations across New York City. For each location I designed a unique tuning system that highlighted the most prominent spectral components of that area. These tuning systems were then employed in an adapted vocoder system with which the performers (Laura Barger and Ning Yu) were invited to explore, filter, and otherwise interact with the resonant qualities of their spaces through guided improvisation.

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Commercial Vignette – For Organ and Video

Commercial Vignette was born out of a perverse interest in sensationalizing the arbitrariness of consumer commodities by mapping their representatives onto dramatic musical forms. Like barcodes, musical notation is a form of digital symbology. Commercial Vignette aims to highlight the disparity between different forms of digital representation. In this case: the product the barcode aims to represent, the barcode itself, the musical notation used to articulate features of the barcode, and the eventual sonic result.

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