Announcing a new recording from the GRAMMY-winning Roomful of Teeth, a singular vocal ensemble that serves as “a kind of lab experiment for the human voice” capable of creating “vocal effects that most singers would never attempt.”
The New Yorker 

Just Constellations composed by Michael Harrison
Release Date: August 21, 2020
Bandcamp link for pre-orders: Just Constellations
Just Constellations composed by Michael Harrison
“This eight-voice ensemble, which includes the 2013 Pulitzer Prize-winning composer Caroline Shaw, is gleefully dismantling the traditional definition of ensemble singing right before our ears.” - NPR
The immense resonance of Michael Harrison’s Just Constellations is described as “glacially beautiful” by The New Yorker’s Alex Ross, who wrote about the performance of this recording at The Tank, an unlikely contemporary music performance venue in Rangley, Colorado. Harrison describes it as “an amazing monumental old water tank with a reverb that lasts longer than any that I have ever heard, including the Taj Mahal.”
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"The beginning sparks for ​ Just Constellations​ might easily have happened years ago when I learned to play and tune the piano for La Monte Young’s ​ The Well-Tuned Piano ​,” explains Harrison. He’s referring to a masterpiece of minimalism for solo piano that takes up to six hours to play and requires hours upon hours of meticulous instrument tuning.

"It's all long tones. It's the singers as bells, or the singers as drones or as pure pitch," says artistic director Brad Wells about a composition perfectly suited for the deep resonance of The Tank. “Michael found an organic way to compose for the group."

“I was also singing and studying classical Indian vocal music, which relies on just intonation tunings. Over the years, I often imagined how the sustained harmonies I produced on the piano might translate to the voice, but this could only be achieved with an ensemble of voices.”

Those ideas became a reality when Roomful commissioned Harrison, who could now tailor a piece written in just intonation to eight individual voices.

“Every time I had a new draft, we would rehearse it and they would give me feedback,” as he describes it. “Then, I would revise the score, and we would do the same thing a few days later with a new draft. I was in composer heaven!"

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