Hearne / Hearne, Ted Hearne - Place vinyl record cover

1

Place, Pt. 1 "Ted Hearne": No. 1, Balloons

2

Place, Pt. 1 "Ted Hearne": No. 2, Boundary

3

Place, Pt. 1 "Ted Hearne": No. 3, Interview

4

Place, Pt. 1 "Ted Hearne": No. 4, Maps (Appropriation)

5

Place, Pt. 1 "Ted Hearne": No. 5, Breakup Letter

6

Place, Pt. 1 "Ted Hearne": No. 6, Guilt

7

Place, Pt. 2 "Saul Williams": No. 7, Is It Ok To Say?

8

Place, Pt. 2 "Saul Williams": No. 8, What About My Son

9

Place, Pt. 2 "Saul Williams": No. 9, Displacement Bloop

10

Place, Pt. 2 "Saul Williams": No. 10, This Land Was Worth Every War

11

Place, Pt. 2 "Saul Williams": No. 11, The Tales You Tell Your Children

12

Place, Pt. 2 "Saul Williams": No. 12, New Faces

13

Place, Pt. 2 "Saul Williams": No. 13, Running To Us All

14

Place, Pt. 2 "Saul Williams": No. 14, Hallelujah In White

15

Place, Pt. 2 "Saul Williams": No. 15, A Thought

16

Place, Pt. 2 "Saul Williams": No. 16, The Guilt That I Feel Is Freedom

17

Place, Pt. 2 "Saul Williams": No. 17, You Were Never Comfortable With Intimacy

18

Place, Pt. 2 "Saul Williams": No. 18, Beneath The Ruins Are Older Ruins

19

Place, Pt. 3: No. 19, Colonizing Space


Item UPC: 798304468380

Date First Available:

Label: NAMS


ABOUT THE ALBUM


Created with poet/librettist Saul Williams, Ted Hearne's newest album, Place, considers gentrification through an inspired oratorio originally commissioned by the Los Angeles Philharmonic, The Barbican Centre and Beth Morrison Project. Commissioned by the Los Angeles Philharmonic, The Barbican Centre and Beth Morrison Projects, and scored for 18 instrumentalists and 6 vocalists, Place was premiered to critical acclaim in October 2018 in Fall 2018 the BAM Next Wave Festival. "'Place' takes shape in songs that emerge like a graffiti mural as repetitive gestures gradually bloom into vibrant, brash statements in high-volume color. The six singers bring with them deep familiarity with diverse vocal styles... but it was impossible to ignore the presence of the real Mr. Hearne at his command post conducting the musicians, manipulating the sound and driving the auto-da-fé of his own orchestration... It always felt as if Hearne was questioning his own comfort and - in the final moment - his own power" (The New York Times).

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