Mitch Stahlmann's solo debut release Into The Wish is a kaleidoscopic adventure in sound. Resulting from the Oakland-based musician's personal practice of experimenting with ways to process and reintroduce the flute, the music on this record draws inspiration from the instrument's everlasting breath. Paying respect to its archaic history as well as leaving room for more strange, clownish impersonations, Into The Wish is a varied collection of flute-inspired pieces. The album traverses seamlessly between what sounds like ancient, sacred incantations and more playful, chaotic collage pieces where the flute is processed, reprocessed and performed using samplers.

Composers Brendan Glasson and Mitch Stahlmann challenge a utopic sound in their auspicious first release as RISA.

While working together at the bitter end of the Center of Contemporary Music at Mills College, Brendan Glasson and Mitch Stahlmann began their collaboration inspired by more fringe pieces and composers of the Mills College canon.

The composer Phil Harmonic’s piece “Timing” became a pivotal compositional model that perpetuated the body of work as heard on I (pronounce one), in which change is imposed upon relatively static music. The foundational sound of the record comes from a neglected Oberheim Xpander and Octave-Plateau Voyetra-8 controlled simultaneously by both composers via custom software.

Signal Quest (Lynn Avery, Cole Pulice, Mitch Stahlmann) is a project based on an improvisational practice rooted in human behaviour post algorhythmic contortion in the modern age. Formed in the summer of 2019, the group met weekly to connect, record and react to each others bliss.

Your favorite Mayor you look forward to fund! Anarchic and colorful, full of love and stuck on the same youtube wormhole for three months straight. A true feat for millenials. A spectacle for gen x. A concern for gen z.

Sean Keenan, Jake Parker-Scott and Mitch Stahlmann present improvised music unhinged. Much of the work is inspired by everyday practice. The latest development of this manifestation is the soon to be released documentary, Cranky Goes Fishing, a cinematic experiecne to give an online viewer the full experience of the band.

Lip Gym is an improvised woodwind quartet involving Carley Olson Kokal, Mitch Stahlmann, Taylor Wigserhoff and Adam Zahler. With an strict "NO SUBS" attitude, the band has worked in numerous combinations while inviting outside guests, such as the phenominal instrument builder Jay Kreimer as well as the impecable skills of trombonists William Lang. (active)

Dustsceawung, an old english word for the viewing or contemplation of dust. Musicians include Miriam Karraker, Noah Ophoven-Baldwin and Mitch Stahlmann. Performances reflected upon the auditory dusts of a space, embellishing the 'silences' with our own small sounds for focal points.

Friends is an improvised flute and voice duo between Tara Loeper and Mitch Stahlmann. The proeject was activated by and nutured with the effervescent relationship between the two friends. (inactive) "..a flutist and a female vocalist duo from the local collective Six Families, whose ethereal mantras evoked some faraway jungle." Brian Kolada, Resident Advisor

Stahlmann&Sands is a collaborative recording project between Mitch Stahlmann and Pete Sands during the spring of 2016. All works were improvised pieces based on an electroacoustic system designed between Sands and Stahlmann. The result is a an ambient collection that fits well with the brisk days of a new season. (unactive)

The three-day festival gathers a broad cross-section of composers associated with the legendary and now defunct Mills College Music Department for a series of performances driven by questions around legacy, institutional memory, and creative regeneration. The festival is named after famed musician “Blue” Gene Tyranny’s Seven Years of Crazy Love, a compilation featuring musicians from the Mills College community released in the late seventies.

Participating artists have been directed towards recordings from the 7000+ item audio archive at the Center for Contemporary Music at Mills, and invited to create new works inspired by their finds and/or create new realizations of these historic compositions.

With the loss of institutional support at Mills comes an opportunity to disentangle the values and aesthetics of individual artists from those of the institution. New space opens to reimagine what creative community looks like and how it is organized, and this festival aims to take a step in that direction. One lesson we have learned from our participation in the Mills music community is the value of experimentation for its own sake. At the very least, we aim to honor this essential tradition.

The festival is curated and organized by Sally Decker, Brendan Glasson, Briana Marela, Michelle Moeller, Matt Robidoux, and Mitch Stahlmann in collaboration with Laetitia Sonami, who realized a version of this project in her final seminar at Mills.

Octophonia is a long running tradition at Mills College. Participating students submit and share their work for eight speakers. Since its defunct year in 2018, Mitch returned the audacity to the community in the Fall of 2019, hosted at the newly renovated Lisser Theatre.

The Recording Marching Band was an all ages community ensemble organized for the Minneapolis May Day parade in 2018. Over twenty participating musicians met over the period of a month to learn a few songs together on recorders. All levels of expertise were welcome creating a co-op learning environment. The colorful display of costumes and flutes made for a postive ray spectacle.

Sonifying Differently Structured Possibilities, a multichannel audio performance using EMF sound emitted from the lights in Dana Hemenway’s sculptures as a starting point for processed improvisation. In collaboration with Sally Decker and Mitch Stahlmann, Eleanor Harwood Gallery, San Francisco, CA, October 5, 2019.

Live Stream, an interactive web installment created by Mitch Stahlmann and presented at the Walker Art Center as a part of the MN Artists' Meme Town, curated by Eric Larson on 10/05/17.

A wise soul once told me that the web is just a big blue wave that's calling your name. A more reliable source told me that was only a metaphor and there's a lot more technical jargon behind how the internet was first downloaded ¯\_(ツ)_/¯. I mean, even if it WAS a wave, it would have been too big for world famous Bob Simmons.