Rosie KBrooklyn, NY
Rosie K is a vocalist and sonic artist from Virginia. She co-leads the indie pop band Dollshot, whose second album Lalande was released in 2019. Recent recordings include an EP reimagining Benjamin Britten’s Songs from the Chinese with electric guitarist Marco Cappelli, and a collaboration with sound artists Desmond Knight. Recently, she has been touring in Du Yun’s Pulitzer Prize-winning opera “Angel’s Bone” as Girl Angel (Beth Morrison Projects) with performances in Hong Kong (New Vision Arts Festival) and Beijing (Beijing Music Festival).
As an artist, she creates sound environments exploring pitch and duration with electronics, hacked toys, field recordings and the acousmatic voice. Her works have been presented in the Open Signal Festival (Brown University), the Outhaus (Los Angeles), and the Rocky-Mathey Theater (Princeton, NJ) and she has performed venues throughout New York City including (le) Poisson Rouge, WNYC’s The Greene Space, The Stone, Galapagos Art Space, and The Standard Hotel (East Village). In addition, she composes for film, including recent documentaries on earthquakes in Oklahoma and firefighters. Her translation of Ivan Wyschnegradsky’s Manual of Quarter-Tone Harmony was published by Underwolf Editions this fall. She lives in Brooklyn and is currently pursuing her MFA in Sonic Arts at Brooklyn College.
for fixed media and synthesizer.
The street band and crowd was recorded in San Miguel de Allende, Mexico. Additional audio is recorded from a YouTube video of a group shouting to build a wall along the border of the States. I composed a drone based on a spectral analysis of the band, and degraded a sample of the chant until it disintegrated to thin noise. This piece was premiered at a private party.
For piano in 16th tones and synthesizer.
for hacked toy, loop pedal, and voice.
text excerpted from Anne Carson’s Albertine Workout.
A miniature sound environment, the inspiration for this piece is the springy, degraded quality of a child’s toy I hacked and the lines “Albertine is not a solid object. She is unknowable. When Marcel brings his face close to hers to kiss, she is ten different Albertines in succession.” Layer upon layer, backwards and detuned, the aspects.
Ivan Wyschnegradsky's 1932 Manual of Quarter-Tone Harmony rewrites the past for the future. But the 24-note equal-tempered octave is not an end, but a beginning.