
Bekah Simms is a Toronto-based composer originally from St. John’s, Newfoundland. Her varied output has been heralded as “nuanced and complex” (NOW Magazine) and “redefining classical music” (Ludwig Van). Propelled equally by fascination and terror toward the universe, her work is often filtered through the personal lens of her anxiety. Foremost among her current compositional interests is quotation and the friction between recognizability and complete obfuscation.
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Foreverdark
Bestiary I & II
from Void
Microlattice
Skinscape I
Skinscape II
Granitic
metamold
Skinscape III
Slept Unwell
Swallow/Breathe
Impurity Chains
Jubilant Phantoms
Everything Is... Distorted
Half-Thorn Blooms
Skinscape IV
Stone or Rot
single Red flower - II. the big alive, feeling small
Tenebrose
shedding, as if sloughed
Everything Is. Distorted (Continuum Contemporary Music & Brian Current)
subsume
Bekah Simms: Skinscape IV
single Red flower - I. a few warbles for the little dead
amok denoised
Crash Ensemble - metamold
(Amahl Arulanandam) Foreverdark
(Ensemble contemporain de Montreal) From Void
(Charlotte Mundy) Bestiary I & II
Foreverdark, for amplified violoncello soloist and chamber orchestra with live electronics = pour violoncelle solo amplifié et orchestre de chambre avec électroniques en temps réel
from Void, for chamber ensemble = pour orchestre de chambre
Bestiary I & II, for amplified soprano and chamber orchestra with live electronics = pour soprano amplifiée et orchestre de chambre avec électroniques en temps réel
Everything Is… Distorted
"Everthing is... Distorted"
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