Noise as an emotional tool:
William Brittelle on Arca
NYC composer William Brittelle provides a framework for his own music and explores “noise as an emotional tool” through London based electronic musician Arca.
William Brittelle: Future Shock (for String Quartet), American Contemporary Music Ensemble (New Amsterdam Records NWAM038)
Arca (Alejandro Ghersi): Xen (Mute 9613-2)
Check out Arca's recently released Mutant
William Brittelle is a Brooklyn-based composer of post-genre electro-acoustic music. His primary musical mentors include Pulitzer Prize-winning composer David Del Tredici, Mike Longo, longtime pianist/arranger for Dizzy Gillespie, and punk guitarist Richard Lloyd of Television. Brittelle’s work is characterized by the melding of complex thematic ideas, rhythms, and formal structure with the visceral power and surface appeal of pop/rock music, a duality perhaps best represented by his most recent album Loving the Chambered Nautilus. Written specifically for the players of ACME (the American Contemporary Music Ensemble), Nautilus is a series of electro-acoustic chamber music pieces melding classic synthesizer sounds and drum programming with virtuosic and textured classical composition. The album has been hailed as a hallmark of the next wave of classical composition. Following an All Things Considered feature, Nautilus hit #1 on Amazon’s Chamber Music Chart. The New York Times labeled the work “bright and joyous”, and MUSO dubbed it “a fast, fun, freedom-fuelled flurry of a record”. Perhaps most powerfully, Classical TV stated: “William Brittelle is creating a body of work that has no precedent, and marks him as a one of the most promising heirs of the vital American maverick tradition.”