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Seth Parker Woods

Chicago, IL            

Critiqued as “a cellist of power and grace” (The Guardian) and possessing “mature artistry and willingness to go to the brink,” Seth Parker Woods has established a reputation as a versatile artist straddling several genres. Outside of solo performances, he has performed with the Ictus Ensemble (Brussels, BE), Ensemble L’Arsenale (IT), zone Experimental (CH) Basel Sinfonietta (CH), New York City Ballet, Ensemble LPR and Orchestra of St. Luke’s (US). A fierce advocate for contemporary arts, he has collaborated and worked with a wide range of artists ranging from the likes of Louis Andriessen, Elliott Carter, Heinz Holliger, G.F. Haas, Helmut Lachenmann, Klaus Lang, and Peter Eotvos to Peter Gabriel, Sting, Lou Reed, Dame Shirley BasseyRachael Yamagata, as well as visual artists  Vanessa Beecroft, Jack Early, Adam Pendleton and  Aldo Tambellini.

Holding a Ph.D. from the University of Huddersfield, his principal teachers were Thomas Demenga, Lucas Fels, Frederik Zlotkin, and Daniel Morganstern. In recent years he has appeared in concert at the Royal Albert Hall— BBC Proms, Snape Maltings Festival, The Ghent Festival, Musée d’art Moderne et Contemporain, Le Poisson Rouge and the Bohemian National Hall, Cafe OTO, Huddersfield Contemporary Music Festival, Klang Festival- Durham, INTER/ actions Symposium, ICMC-SMS Conference (Athens, GR), NIME-London, Sound and Body Festival, Instalakcje Festival, Virginia Tech, La Salle College (Singapore), and FINDARS (Malaysia) amongst others. Recent awards include a DCASE Artist grant, Earle Brown/ Morton Feldman Foundation Grant, McGill University- CIRMMT/IDMIL Visiting Researcher Residency, Centre Intermondes Artist Residency, Francis Chagrin Award, Concours [Re]connaissance- Premiere Prix and the Paul Sacher Stiftung Research Scholarship.

His debut solo album, asinglewordisnotenough (Confront Recordings-London) has garnered great acclaim since its release in November 2016, and has been profiled in the Guardian, 5against4, I Care If You Listen, Musical America, and Strings Magazine amongst others. 

Gray Neon Life

Written for Cellist Seth Parker Woods, Gray Neon Life came about through Seth Woods’ fascination and obsession with urban street art. Hamel decided to use the fragmented tag phrases from SAMO (Jean-Michel Basquiat and Al Diaz) as spoken text within the work.

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Not Alone by George E. Lewis

Not Alone uses interactive digital delays, spatialisation and timbre transformation to create a dance among multiple cellists following diverse yet intersecting spatial trajectories. Although the work does not deploy explicit models of self-similarity, the more immediate spatial trajectories expand into larger trajectories of affect across the duration of the piece. Advancing a conversational aesthetic, albeit in a non-improvised work, in Not Alone foreground and background deliberately conflate.

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Asinglewordisnotenough 3

Written by composer Pierre Alexandre Tremblay, this third piece/iteration/instance of a cycle of electroacoustic works is the first with a live/acoustic instrument/source. Whereas the original electronic explores the gestural/embodiment limits of fixed media, here the cello reaches for a world of articulated transients/noises/textures/splices. Ideas are expended/shrank/distorted at the limit of recognition, to allow/free their essence from their broken shell.

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