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Leicester Old Grey Live

by D'juil

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1.
Music is Elemental, the World is a Stage, it is also the Case.

about

The DCM Collaborative music, Cm Edition
The 21 Collaborations - Index A - U

[F] D’juil
[F16] Old Grey Live

[F16] Old Grey Live - Our Legendary Roof Top Performance - the rawest, most spectacular thing we ever did. ‘They wont forget the day we had.’

I had broken free of The Leicester Underground - my musical Home ground - into international collaborations - [K] JJM and from that [L] Wenninger Broadhurst and [M] Angelic with Jurica Jelic and Marcus Beuter. I felt that D’juil was over musically but now I was back with Leicester after making [E2] Anderson Morning 2, there was a hole in the second Octet of albums on the Discography - I couldn’t end it on 15 !

I wanted to do one last spectacular, for our 16th and quite probably last Album, our farewell performance at 'Leicester Old Grey Live'. It's a mood, it's a temperature, it's a state of affairs, It's a City, it's a Venue, We are Elemental whilst all around us was a stage, we are the players, live, who strutted and fretless and are no more. Wrapping up our heroes into one - the Beatles at the Apple Building - Jimi Hendrix at Woodstock. In Legendary homage, from the rooftop of the now disused Leicester Council Building, the Old Grey [also of whistle test]. We hauled van-loads of power up to the roof - at our own risk. We plugged in and Freaked Out. We made so much noise that day we blew two city blocks ! Amazingly we weren’t arrested.

So leaving the city almost in ruins, we shook hands at the crossroads, where we began and went our separate ways - the Devil, lamenting the music we'd tricked him out of. This is not the way nice classical boys behave - but then D'juil are not really 'nice' classical boys. Oddly enough when alot of ground had settled we came back with a string of classically focused albums, a new octet, beginning at our number 17 - 'Elemental String music.'


In 2009, just before his move to Leicester [after our 10th album], Jim Tetlow introduces me to two fabulous people that I would have long collaborations with over the rest of my career - Flautist & vocal Artist Maureen Anderson - and Cellist David Dhonau.

That’s not quite how it happened. I was waiting for a bus at a crossroads - mid summer - the sun was high - the fields were parched, as was I. A figure in black came out of the haze toward me - he was carrying a case and his lapel badge read Cellist. He doffed his hat and I mine. It was the start of a bad novel but everybody needs a foundation myth. He said - chewing his cigar - “you going my way ?” And indeed I was.

Amazingly he lived just around the corner from Ola and Jim - making up an eternal triangle - the Heart of the ‘Leicester Underground’ as they styled themselves. Jim and I as [B] Tetlow and Broadhurst were already up to our 12th album [] Promise to return. Joanna Geldard and I - as [C] Etuda - had but two. Some strange Kats and I were recording as [D] ‘Revenge of the Umbrella People’ and Maureen Anderson and I had begun our work as [E] Anderson Morning with the Eponymous [] Anderson morning.

[F1] -There we were, David and I - in cramped little studio space upstairs in his house, surrounded by his former Art Career - as I also - have a background in Art, if a little more publicly, - in my case. So -We found ourselves with his Cello [Cleo] and my Violin [Vio-let], and doubling the parts we became - at this instance - a string Quartet - with a layering of all sorts plugged into something else. Two pieces named for our friend flautist - vocalist Ola and her Daughter. We proudly and stubbornly retain her as the cover star of the album as did ‘The Smiths’ with their cover stars. We weren’t quite sure where we were going with this but leave it to us - we would become my largest collaboration at 28 albums - many double and even triple, with five Arkiv and bootleg albums. The 25th - gloriously - with renowned Italian Concert Flautist Sara Minelli - at the said W studio in Derby.

Handing me a DVD Rom of our performance that first day David had abbreviated our names to D’juil - D- avid and juil - I had never been juil before but I am now - an amazingly fortuitous miss - take. I loved it and said ‘That - is our name.’ Jim Tetlow, designing covers for us, invented our distinguishing Name Block and I have continued this on our later albums.

We are joking aside a very Serious - Cello focused, experimental Contemporary duo. Everything we did is in extension - music for Cello with what ever I became - with my Percussion - violin - Cello and or the Studio, my Studio - Isabel - with David as the star. We are as I often say - a New Force in Contemporary Cello.

[F2] Projections - We hit the classical world running with this outing for David’s Cello and my Violin - in the same world as the first but more overtly classical and the clouds have cleared. The title is an oddity - we were sat in a bar just across from a railway, not my favourite place but we were killing time. David was talking about a project he was involved with using projections. I lost the thread but that word stuck. It is as though here the music finds three Projections of itself onto three very different Surfaces with notably different outcomes.

[F3] Exhibition music - Our seminal third album - and an ocean depth of Cello musics - deep furious and unforgiving. Our first of many doubles - I say this is the album where we really came together as a force in contemporary cello.

David created a ribbon of sound for an exhibition - and we based the music of this album on that. I had wanted to create music like this for along time. The cello is so redolent of the music we both adore - from Hydan to Henze - it isn’t really found in any other kind of music. In this I say we joined our heroes - somewhere at the back. Post-production and mastering by julian Broadhurst - Cover photograph of David Dhonau by Abi Harrison - the concentration on his face like generations of Cellists before him. Cover Design by Jim Tetlow and Julian Broadhurst [T & B the design partnership]

Abi Harrison - www.lensculture.com/abigail-harrison

Dedicated to Jacqueline Cheval and Victoria Bourne.

[F4] I Heard a Rumour - A gently evolving Kaleidoscope of colour. The wonderful cover by Jim Tetlow really seems to feel the music - and conversely the music the picture. The cover is a work of Genius - Jim did so much for us and for many of the DCM Collaborations. This then is us, locked in the studio working out the parts, the timing and the layering - two vast pieces on a double album. The Album’s title - ‘I heard a Rumour’ names the first piece, disc 1 and is a line from the ‘Siouxsie and the Banshees’ Piece ‘Arabian knights. The second piece then takes for its title the consecutive line from the song ‘What have you done to her.’ The album is dedicated to my hero the fabulous Siouxsie Sioux.

[F5] For That We Love - four meditations for Cello and layered tape. For the things and people we have loved - four lamentations then: ‘A loss - A sigh - A farewell - A Regret’ - a cycle of deepening feeling. We commit our love for life, for our forever. David was the voice of Lament and I its echo. The cover - possibly the greatest we ever used - is another work of genius by Jim Tetlow with me sat beside him as he worked - a Cubism for cello/ of a cello. Now it and the music must speak for themselves.

[F6] Winter Light - ‘Le Grand Ostinato.’ Our most Classical piece to date and yet - a hugely experimental and difficult piece - that I asked of David. The man in black hit back. He is more than equal to my Imagination. Together we are a new force in Contemporary Cello. The magnificently timeless cover, a photograph by Jim Tetlow, from his parent’s home in Scotland, I think captures the scale of the music within. It is monumental in our work.

[F7] Emma - The first of our really difficult albums. D’juil was morphing into a completely studio based experimental duo. Here snatches of melody phase against one another in a slow burning meditation on timing. We sat for hours in a darkened studio with stop watches and log tables. It takes its time - it takes so much time - far more time than it says on the page -bout 4 years by our reckoning. We are painting with sound and endless representation. This is total emersion music - a meditation on time.

The Emma in question is Emma Araya Eacock - beautiful wife of my beautiful friend Jorge and mother of Julian, Lucas and Flori. Julian their severely disabled son was named after me - “because I had “all the qualities he would want in a son.” I dedicated my 3rd symphony to them - Sinphonia Vitae - symphony of Life - especially for Julian, the Lamb who can never really grow up. Emma - a nurse, got me into hospital, when I was seriously ill - this album is in thanks for that and ties us to the that Symphony.

The Cover is another Wood and wire piece by Jim Tetlow - for our dedication to the advancement of Cello music.

[F8] Damian - The last album in this concentrated ‘First Phase’ of our music - our first 8 albums in a continuous and consecutive act of production - living between his Leicester studio and my Isabel Studio in Derbyshire.

Damian Mark Boland 1980 - 2011 was a friend of David’s since school A singular creative mind - Artist, poet and filmmaker he had written 3 novels by 16. I became fascinated by him and wanted to make a piece about him.

Our 5th double album [as we began to pave the world with cello] - i really is two separate concepts. The first piece of the set, a ‘Music for Damian’- is a growlingly immediate, punctuative, pointillistic and jagged music - in a performance constructed between us - particularly as an Elegy to his Friend. The Second piece ‘Damian’ is a music with him, that is, with his Voice. In their twenties Damian and David produced a series of Art Films, one of which, a Mock interview about a fictional electronic game, gave us the audio for ‘Damian’ - now as a fragmented continuo of broken speech, where his speech becomes rhythm and pitch.

The cover - another masterpiece from Jim Tetlow - from a photograph by David - shows Damian in a deeply darkened world emerging from a lighted ally - making a odd cross of light behind him - “Very Strange” [The Beatles - penny Lane].

[F9] Strata - D’juil Has three phases of eight albums each, one more of 4 and five Arkiv albums to boot. The first and the second phase are contiguous in that. Almost the whole of 2011 was spent in close continuous work. Between them though is a short period elsewhere. Working with my friend, mathematician and music theorist [G] Johannas Schafer on a couple of projects for the DCM label. In May 2011 Jim Tetlow and I recorded our 13th album - Tredecadent Voices - ending my fear of a 13th. And then Discovering a a series oddly alien tapes by [H] The Flying Sauces, Publishing them and partying hard with them. I never had more fun. Then Back in Earnest to the very serious world of D’juil and a second phase of eight difficult albums.

[F9 Strata] - At almost 3 hours in length this 6 movement suite for Cello and recording studio is perhaps our most demanding project - asking a great deal of the listener - and testing the notion of music for a Cello to the point of Destruction. Each successive movement adds a whole new depth to the complexity of the presentation - hence 'Strata' - in the Geological sense of laying over what went before. In the musical sense - taking the stage we have reached and running with that. Each movement carries the name of a Modernist hero - as it were a homage to influence - but in no sense a musical portrait. It begs an oblique reference to Klaus Schulze's Album 'X' [ten] - in its taking six heroes and presenting six pieces was a big influence on me as a youth - I can't doubt it was in my mind. Jim Tetlow said whilst creating the cover for me - is this your ten ?

[F10] - Tapippio. Two 'Dancing Pizzicato' pieces for two Cellos - and the 'two' Davids of the cover. In the first of these - Pizarcho - an amazingly simple figure of only a few notes interlaces between the Cellos - turning cartwheels of complexity in Rhythm, Timing and emergent variation. The second - 'Tapippio' - dresses up the complexity in a flood of repeated notes. In a spirit of investigation - continuing D'juil's pursuit of the new and the unexpected in Contemporary Cello repertoire.

We also thought to take this opportunity of the remaster to add a bonus disc - a new D'juil album - on an old theme - in an old place as it were - making a New old album now - a Double. So - not album 21 but 10B 2016 ! 'Pizarcho Pappipio' - a surprisingly bizarre twist on an old friend with all the percussive intrigue and Cellistic Strangeness you would expect from us.

[F 11] - Virtual Live - a contradiction in terms really - or maybe not. It was a performance - for a very small audience in a large studio space in London. What you hear is us 'Virtually live' - recording an 11th album - live. Slightly remastered in April 2016 - still with the same immortal cover but with the lost 3rd part of the recording included now for good measure - The complete experience. So in answer to those people who had asked - yes indeed there was a 3rd piece. Rich in its minima and Avant Gardism Part 3 is quite an aural challenge to the first two - but it dose belong - and now you can hear it.

I honestly think this Album is a revelatory piece in our work - we are so focused. My percussion is complex and sustaining and David's Cello soars with a devastating Classical Energy - born of centuries - of the intensity and focus of music studied and loved - with his own fine Artistry and weapon like edge ! . We are both very lucky to have done this. We present it with great delight.

[F12] Gargamelle - the twelfth album of Contemporary Cello focused duo D'juil [Da jule], of Cellist David Dhonau and Composer Julian Broadhurst - for Two Taped Cello lines, devices and Various acoustics. A suite of 3 difficult conceptual pieces at an extreme of the Cello repertoire - we both thought people would have difficulties with it, but that has never stopped us before.

It is a piece about the dying of reverberation in differently sized Acoustics. For example, when an organ stops playing a great swell, it rings around the building in its dying. We decided to reproduce this effect by differentially processing two Cello recordings, then to start and stop the two tapes, in variously sized acoustics; in a timing and manor composed by us, as the substance of the work. Jim Tetlow and I designed the 'Bar Code' cover to visualise this effect. The album is named after a old Bubble Chamber at CERN, that once sought out the Dying reverberations of charged particles - giving up natures secrets to the keen eye. Let then the keen ear 'look upon' this.
JB

"A consistent investigation of micro-temporal relations courageously proposed by shading light onto ever-challenging fragments of stasis."
John Palmer - British Contemporary Composer. Jan. 2015

"A Masterwork"
Frederick Kojevnikov - French Contemporary Composer. Jan. 2015

"an awesome piece. The way they play around with partials and harmonics is fantastic."
Lara Poe - American Contemporary Composer. Jan. 2015

[F13] Bebop - D'juil 13. Bebop - a Concerto for Cello and Metal Percussion. A concerto for Cello and an Orchestral palette of metal objects and sonorities - good god what didn't we do with the Cello - has this ever been done before ? A Concerto for Cello - that hallowed form - with a Gamelan of resonant Idiophones. Indeed with a first movement of almost entirely metal percussion. This is a fully descriptive term I use to name a tranche of my own composition focusing on percussion with metal [The Coventry Canticles - with bell harmonics - the 'voices' of metal for example - an obsession of mine, as an offshoot of Drum percussion, since a childhood exposure, in early 80's popular music, like Depeche Mode - and through Industrial music, like Faust and Einsturzende Neubauten]. This is a priceless marriage of David's Cellistic sensibility and my Metal Percussive soundworld. It is unique in our output from that point of view.

the first 3 movements [of five], are contained within a first section - arranged here as 'Part 1' - to aurally emphasise the partition of this group. Following the short, percussive, opening movement, the Cello soars to its distinction in the Second - delineating 'Concerto like' its presence on the stage - as the star - as the hero. Its precocious wooden body surrounded by a sea of hard, sharp, unmusical objects - fighting through and engaging with them.

The Second part - containing the remaining 2 movements - opens with low strings and sharp challenging percussion. This 4th movement, is short, like the first movement, and is followed likewise by a strident Cello in the 5th and longest movement. Rapidly the Cello loses its ground to a 'sea of natural shocks it seems heir to'. Then, gaining back its ground - it rises with such elegance, to so graceful an end, that even Haydn might have smiled.

[F14] Helios - D'juil 14 - Helios - Meditations for two Cellos. A simple melody played solo by the First Cello in Part one is subsequently passed between them at different lengths and transpositions in a becalming meditation. Well yes, almost. Except that with D'juil nothing is ever quite what it seems and the meditative can jar. The world can be turned upside-down or downside-up or then again sing like an Angel. The odd can appear very natural and versa visa. Jim Tetlow's wonderful Skyscape cover photo (just to be contraire) is upside-down.

[F15] In Colour Live - seventh in a row in our second phase and the last before the Break with Leister.

A very unusual performance for us in that it was almost completely acoustic - a small unassuming venue in Leicester, [David’s home Studio base. David played an acoustic bass guitar - like an ordinary guitar but much bigger - I some percussion or other in a neat set of short pieces named for our friend Latvian filmmaker - Cinematographer Olga Mesmer - who we met through Ola Szmidt. She lived in Strut’s Park, Derby [my home town, near enough] and is now based in London. A fabulous ‘in Colour’ Cover by Jim and I.

A break with the Leicester was in the Air. The label had a nuclear war of a falling out with one of our stable mates and we pulled out of the Leicester underground - pulled the plug as it were - our jack plug.

Before the final break there were two short Collaborations with Flutist - Vocal Artist Ola Szmidt and Cellist David Dhonau as [I] OLArJ [Olla & J] and [J] OLAU [Ola and DhonU]. The three lions of Leicester music Jim Tetlow, David Dhonau and Ola Szmidt and now I had worked with all three.


- D’juil - the albums -

[] Ola - [] projections - [] Exhibition music (2) - [] I Heard a Rumour (2) - [] For That We Love (2) - [] winter Light - [] Emma (2) - [] Damian (2) - [] Strata (3) - [] Tappipio (2) - [] - Gargamelle - [] Bebop - [] Helios - [] In Colour Live - [] Old Grey Live - [] Elemental String Music (2) - [] Belladonna - [] Plateau Live (2) - [] Vingt - [] Later Blue (2) - [] PRecital - [] In Nomine - [] Textures on an English Ground - [] Trio in Five Parts (2) - [] Mir A & B (2) - [] Open your Eyes (David Dhonau Solo) - [] Breathe First A, B & C (2).

Arguably live [Arkiv] - [] Witness for the Prosecution [Arkiv] - [] Art House London Live [Arkiv] - [] Sunrise Festival Live [Arkiv] (3) - [] Documentary Tapes [Arkiv] (2). [46 Discs].


- The Collaborations in Chronological Order -

[A] Huddersfield Impromptu - with the Huddersfield Improvisation group - 1 album : [B] Tetlow & Broadhurst - with Jim Tetlow - 19 Albums + 3 Arkiv albums : [C] Etuda - with Choreographer Dr Joanna Geldard - 2 albums : [D] Revenge of the Umbrella People - 1 album + 2 Arkiv albums : [E] Anderson Morning - with flutist vocalist Maureen Anderson - 5 albums : [F] D'juil - with Cellist David Dhonau - 28 albums + 5 Arkiv Albums : [G] julian Broadhurst & composer Johannas Schafer - 2 albums : H] The Flying Saucers - 5 albums : [I] OLArJ - with Flautist vocal Artist Ola Szmidt and David Dhonau - 1 album : [J] OLAU - with Ola Szmidt - 4 albums : [K] JJM With Markus Wenninger & Jurica Jelic - 1 album: [L] Wenninger Broadhurst - With woodwind specialist Markus Wenninger - 15 albums : [M] Anjelic - with Jurica Jelic and Marcus Beuter - 2 albums : [N] Konnyek - with pianist Maria Vesic - 5 albums : [O] Poet Reg Keeling - Audio Book - 1 album : [P] Alisian - with English Harpist Alison Katy - 1 album : [Q] Lords of The Dance - with Percussionist Walt Shaw- 2 albums : R] National Steel Blue with Burnt Paw - 1 album : [S] Ensemble Et Au with Jim Tetlow and David Dhonau - 2 albums : [T] Accortumn - 1 album : [U] Sonn Jaa - with Composer Sonja Grossner - 1 album.


- The Complete DCM Collaboration -

- [A] - HUDDERSFIELD IMPROMPTU : [] Three Undirected Pieces (2007).

- [B] - TETLOW & BROADHURST 1 - 10. I Meet Jim Tetlow at Bambu club Leicester 11th July 2007, performed there together 18th July as T& B : [] Live at Bambu (July 2007) - [] Qua - [] Orn
[] Under Normandy Bridges - [] Bridges above Us - [] Live in a Drum Group ( break) [] Koncertat - [] Sn for Solo Vn and Electronics - [] Better Than Even (Break) [] The Measure of Autumn (late 2008).

- [C] - ETUDA :1 & 2. I meet Chorographer Joanna Geldard early 2009 : [] Intonation W - [] Percussion W.

- I Meet David Dhonau and Maureen Anderson 2009 -

- [D] - REVENGE OF THE UMBRELLA PEOPLE 1 - 3 with Johannas Schafer ( Dr C) : [] Live at Pineapple Peppermint (released 2011) - [] Voration 1 - [] Voration 2 ( released 2021 in my Arkiv Box).

- [E] - ANDERSON MORNING 1 with Maureen Anderson : [] Anderson Morning (2009).

Tetlow & Broadhurst : 11 - 12 : [] Celestation - [] Promise to Return (August-September 2009).

- [F] - D'juil with Cellist David Dhonau : 1 - 8 : [] Ola (2010) - [] Projections - [] Exhibition music (Break) [] I heard a Rumour - [] For That We Love - [] Winter Light (Break) - [] Emma (spring 2011) - [] Damian.

- [G] - julian Broadhurst & Johannas Schafer 1 & 2 : [] Dialogue with friends (June 2010 (pub. 2018) - [] Symphony C (Published 2021).

Tetlow & Broadhurst 13 : [] Tredecadent Voices (May 2011).

- [H] - THE FLYING SOURCES 1 - 5 - [] Out from Venus - [] Home to Venus - [] Live at Area 51 - [] Saucer Blues - [] Cup without a Saucer (All Discovered 2011+).

D'juil : 9 - 15 : [] Strata - [] Tapippio - [] Virtual Live - [] Gargamelle
[] Bebop - [] Helios - [] In Colour Live (December 2011).

- [I] - OLArJ - with Ola Szmidt & D. Dhonau: [] The Cord of Life (February 2012).

- [J] - OLAU : 1 - 4 - with Ola Szmidt : [] Cordeal - [] Honeybees - [] Bride By Her Bachelors, Even - [] Sztriped Ice (All March 2012).


- The Break with Leicester 2012 -


Founding Music with Markus Wenninger - Jurica Jelic - Marcus Beauter and Maria Vesic - on my JJM Label.

- [K] - JJM With Markus Wenninger & Jurica Jelic : [] Breeze (August 2012).

- [L] - WENNINGER BROADHURST 1 - 3 - With Markus Wenninger : [] First Reply to Markus - [] Decollement Horizon - [] Rohre (August 2012).

- [M] - ANJELIC 1 - with Jurica Jelic and Marcus Beuter : [] Study no. 1 - Angel.

Anderson Morning 2 : [] Cabaret Dada (released September 2012).

D'juil 16 : [] Leicester Old Grey Live (released September 2012).

Anjelic 2 : [] Blood and the soil (October 2012).

- [N] - KONNYEK 1 - 3 with Marina Vesic: [] Sn for Pn & Percussion no. 1 - [] Sn for Pn & Percussion no. 2 ‘In Tears’ - [] Lady Blue Black (Oct. 2012). .

- [O] - REG KEELING - Audio Book : [] A Winters Journey (Oct. 2012).

Wenninger Broadhurst 4 & 5 : [] Red Frame Blue (January 2013)
[] Avatar.

Tetlow & Broadhurst 14 : [] OBAH (February 2013).

Konnyek 4 : [] Sonate Concret (February 2013).

- [P] - ALISIAN - with English Harpist Alison Katy : [] Elvaston meadows (March 2013).

- [Q] - LORDS OF THE DANCE 1 & 2 with Percussionist Walt Shaw : [] Music for Metal Percussion - [] Electric Surface (Both May 2013).

D’juil Arkiv : [] Sunrise Festival Live (Aug 2013) [Desk release 2022].

Wenninger Broadhurst 6 : [] Lollapolusa - The lost Hour (Sep. 2013).

D'juil 17 : [] Elemental String Music (October 2013).

Wenninger Broadhurst 7 : [] Black Star Music (December 2013).

Konnyek 5: [] Horizon (2013).

Tetlow & Broadhurst 15 : [] Venus & Adonis (June 2014).

D'juil 18 - 20: [] Belladonna - [] Arkiv - Art London Live (August 2014) - [] Arkiv - Art London Live [released 2022] - [] Plateau - [] Vingt (June - October 2014).

Wenninger Broadhurst 8 - 10: [] The Unquestioned Answer - [] Virtual Glass - [] With Wisest Sorrow (November 2014).

Tetlow & Broadhurst 16 & 17: [] Frozen - [] Sirius A (late 2014/January 2015).

D'juil 21 & 22 : [] Later Blue - [] PRecital (early 2015).

Anderson Morning 3 -: [] AM3 (May 2015).

- [R] - NATIONAL STEEL BLUE - with Burnt Paw : [] Blues Suite 1 & 2 (June 2015).

Wenninger Broadhurst 11 & 12: [] Neble A
[] Neble B & C (March 2016).

- [S] - EMSEMBLE ET AU 1: [] Kornu (January 2017).

Tetlow & Broadhurst 18 and 19 : [] Improbable Live
[] Bau Out (from Kornu session January 2017).

- [T] - ACCORTUMN - with D. Dhonau & M. Sole and Mike Sole :
[] Autumn - Winter (January 2017).

- [U] - Sonn JAA - with Composer Sonja Grossner : [] Wind and Whatever (October 2017).

Ensemble Et Au 2 : [] One Flew Over (July 2018).

D'juil 23 & 24: [] In Nomine - [] Textures on an English Ground (Autumn 2018).

Wenninger Broadhurst 13: [] Windhaus for Anna - in the wake of Beriom(October 2018).

Anderson Morning 4 - [] They Make Music [An Opera for voices]. On my MSEP Discography (2019).

S'ra-D'juil 25 : [] Trio in Five Parts (2019).

Wenninger Broadhurst 14 & 15: [] Konnyek - for amplified Duet - [] Music in the Wake of Konnyek - Wenninger Solo (August 2020).

D’juil 26 - 28: [] Mir A & B - [] Open Your Eyes ( Dhonau Solo) - [] Breathe First A, B & C (2021).

Anderson Morning 5: [] AM5 (February 22).

credits

released September 5, 2012

David Dhonau Cello, Bass, Electronics.
Julian Broadhurst Bass, Cello, Electronics, Studio & Mastering.
Cover by Tetlow & Broadhurst. Cover Photo by Jim Tetlow. Cover 'Name Block' concept on all our Albums, and our logo in itself, by Jim Tetlow.

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