a wave - Erik Carlson & T.J. Borden Present Tide by Matt SargentErik Carlson, T.J. Borden, Matt Sargent
Erik Carlson & T.J. Borden Present Tide by Matt Sargent
contents
credits
Side A performed by Erik Carlson & T.J. Borden, Side B performed by Erik Carlson
Composed 2015 by Matt Sargent
Recorded November 2016 in San Diego, CA by Andrew Munsey at University of California San Diego
Mixed November 2016 - 2017 in Saugerties, NY by Matt Sargent
Mastered February, 2020 in Los Angeles, CA by Daniel Eaton at Little Castle Mastering
Design by Steven Ziadie
Violinist Erik Carlson has performed as a soloist chamber musician throughout Europe and the Americas. He is a highly active performer of contemporary music and has had works written for him by numerous composers, including Pauline Oliveros, Georges Aperghis, Kunsu Shim, Jürg Frey, Peter Ablinger, Charles Wuorinen, and Tom Johnson. Carlson is an enthusiastic proponent of interdisciplinary collaboration, and performs frequently with dancers, poets, and film.
Carlson's past and present ensemble memberships include the International Contemporary Ensemble, the Talea Ensemble, the Trinity Bach Players, the New York Miniaturist Ensemble (of which he was the founder) and the Theatre of Eternal Music String Ensemble. He has been featured on many recordings, which include violin concertos of Antoine Beuger and Aldo Clementi, chamber music of Christopher Otto and Eva-Maria Houben, and solo works of Catherine Lamb and Zoltán Jeney. Also a composer, Carlson has had his musical compositions performed in a wide variety of venues.
Tyler J. Borden is a cellist working with, in, and around the constraints of the cello. Formerly from Western NY, he is now based in Brooklyn NY, where he spends much of his time finding ways to exploit the strengths and failures of himself and his instrument.
Matt Sargent (b. 1984) is a composer, guitarist, recording engineer, and music technology specialist based in upstate New York, where he is an assistant professor of music at Bard College. His music grows from resonance, memory, the making/breaking of patterns, and computer models of musical thought. Working between the concert stage, the recording studio, and the code box, Sargent’s audio technology has been called “a veritable fountain of intensifying, kaleidoscopic spumes” (Peter Margasak, Bandcamp). Over the last decade, his work has focused extensively on musical algorithms and real-time notation systems, which can be heard in his compositions and technical collaborations with other artists.
