Get all 17 Louth Contemporary Music Society releases available on Bandcamp and save 35%.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of FOLKS' MUSIC, Terry Riley IN C Irish, Wall of Athanasius, Bára Gísladóttir & Skúli Sverrisson Live from the Spirit Store, Flow, I Listened to the Wind Again, Lenguas de Fuego, Cantares de la Frontera, and 9 more.
Louth Contemporary Music Society Dundalk, Ireland
I would say the Louth CMS is particularly significant because of the dedication, love and devotion that drives Eamonn Quinn to seek out special musicians to bring to his corner of the world. These choices are made on musical worth regardless of their commercial potential. It is these kind of risks that keep music alive. Composer – Terry Riley ... more
If you like Four Thousand Holes, you may also like:
Julius Eastman Vol. 1: Femenine
by Wild Up
supported by 11 fans who also own “Four Thousand Holes”
This is one of the most exciting cds I've heard in ages and I feel LUCKY to have discovered Wild Up and their recordings of Julius Eastman. Wow!!
go to album
Julius Eastman Vol. 2: Joy Boy
by Wild Up
supported by 11 fans who also own “Four Thousand Holes”
Brilliant second part to what is shaping up to be an essential retrospective series. 'Buddha (Field)' is THE ONE.
go to album
Éliane Radigue: Occam Delta XV
by Quatuor Bozzini
supported by 11 fans who also own “Four Thousand Holes”
go to album
A cycle of 9 duets, “Isolario” is by turns intricate, sparse, mysterious, and moving.
go to album
Landvættirnar fjórar
by Guðmundur Steinn Gunnarsson
Icelandic composer Gudmundur Steinn Gunnarsson builds playful, experimental motifs around 13th-century mythological creatures.
go to album
Moments Remixes
by Michael Vincent Waller
There’s a quiet beauty to this remix album of compositions by Michael Vincent Waller, with contributions from JLin, Prefuse 73, & more.
go to album
supported by 10 fans who also own “Four Thousand Holes”
“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach Enough said.
go to album
