MUSIC

Supermassive EP

Supermassive, alt pop songs of friendship, love, philosophy, and science.

Supermassive is an EP of fresh upbeat alt pop composed and produced by Amos Mann. Catchy hooks and sing-along choruses evoke a lighthearted mood, while the image-rich lyrics take the listener deeper. Exploring love, friendship and environmental catastrophe, the songs draw on science and philosophy. Yet serious topics are leavened with humour and playfulness throughout.
 
An eclectic range of musical influences including classical, hip-hop and experimental are evident in Supermassive. Mann’s Polish Jewish heritage also makes a significant contribution. His performance experience in klezmer and jazz can be heard in the supple warmth of his double bass.
 
Featuring internationally renowned violinist Sydney Manowitz (Mann’s father) and distinguished pianist Donald Cullington, the compositions are dynamic, with the voices of the instruments ranging from bold to ethereal.
 
“I grew up with the sound of my dad practicing Bach violin fragments over and over and when I wrote these pieces I found myself drawing heavily on those sonic memories”, says Mann.
 
While the songs are strongly connected thematically and sonically, language and music come together in unique ways in each. Mann, who also works as a Digital Producer at Museum of New Zealand Te Papa Tongarewa, has a strong interest in participatory art and views his songs as a way to share ideas and inspire others: “Each person brings some of their own memories and stories to the work. That’s when the songs come to life — in the ears and minds of listeners.”
 
Mann’s voice is a rich baritone that he uses to unexpected and compelling effect. Some songs are almost whispered, while the delivery of others is rhythmic and staccato. Evocative and irreverent, there’s a touch of both Leonard Cohen and David Byrne. These are beautifully crafted, layered pop poems.

Supermassive EP

1. Supermassive
2. Dynamics of a field  
3. Past simple
4. Tree philosophy

Available now on all major platforms. 

Use of notation in participatory music can productively mediate participation, audience reception, and participatory/presentational tensions. Open approaches to sound production engage participant freedom, representing and substantiating the utopian. Participatory values are exemplified by the relational qualities of the notational forms used.

Kaka counterpoint 2012 (extract)

Access research, recordings, and scores: https://openaccess.wgtn.ac.nz/articles/thesis/Participatory_music_notation_Composition_for_mixed-experience_performance_contexts/20387631