Born in Brooklyn, and raised in Rockaway and Greenwich Village, I played lead guitar during the 80s and 90s in bands in NYC clubs including CBGB, Limelight, and the Cat Club. I've recently started to write new songs.

I understand my music as an emotive encoding. I write because I feel an emotional compulsion to write — to give form to fantastic or impossible colors and shapes as sound and as pleasure — and, yet, when I write, I am intensely aware of the fact that I am setting up and taking apart a code. I write for different combinations of instruments in chamber and orchestral settings and the written score is an important part of how I work. The act of score preparation is, for me, an emotional effort deeply concerned with the weight and energy and physical charge of raw and vibrant sounds, and, in equal measure, a type of work that is surpassingly symbolic, intimately bound up with the networks of potential meaning set up by marks on the page. I reject any dichotomy that pits the analytic against the emotional. Symbols can, and do, cut like knives. And I work for a music that is everywhere an emotional play of symbols, complete with all the almost unworkable contradictions such a play of symbols carries.

I don't understand either the societal or psychological parts of the composer role. And I would just as soon replace it with some other type of work carrying some other type of baggage. Sorcery, perhaps. A special appeal to concentration, with concern for a secret language of symbols, a secret way of reading the events and details of the natural world. I want music to be an intensely shared and public experience. And I want the intensity of that experience to result, at least in part, from an effort of decipherment, and translation, on all our parts.

My music comes back again and again to a constellation of images, and desire. The beauty of reflected and refracted light. The relationships between code and power and time. The assertion of power and importance in an everyday type of living. The delicacy of flowers and their parts. And networks of people and our relationships. I believe that there is something utterly human in rendering flashes of these ideas as symbols on the page, designed specifically for experience in some other, potentially unknown, place.

[American composer Trevor Bača (*1975) grew up in Texas. His concerns as a composer include lost and secret texts; broken and dismembered systems; sorcery, divination and magic; and the effects, action and beauty of light. Bača's music has been played throughout the world with recent performances in Barcelona, Berlin, Boston, Cologne, Curitiba, Darmstadt, Helsinki, Huddersfield, Leuven, Ljubljana, Los Angeles, Lyon, Maastricht, New York, San Diego, San Francisco, Thessaloniki, Tokyo, Trieste, Würzburg and elsewhere. Bača holds a PhD in music composition from Harvard University.]

Empty Editions is a Berlin-based publishing platform initiated by the Empty Gallery, Hong Kong. Empty Editions releases vinyl records, artist books, multiples, and other ephemera with a special focus on the intersection between visual and sonic arts. We are restless explorers of the fertile territory where the vernacular meets the avant-garde. Forthcoming releases from Empty Editions include music by Jean-Luc Guionnet, Daichi Yoshikawa and a documentary on Karou Abe by Modern Music's founder, Hideo Ikeezumi.

Comedian, Composer, Dispatcher, EMT, Husband, Songwriter, Writer, Yutz

Dan Siegler is a Composer, Sound Artist + Producer from New York City.

His work combines electronic and organic elements, incorporating references to jazz, blues and folk. These sound-first compositions are strongly influenced by musique concrète, employing a mixture of analog synthesizers, orchestration for concert instruments, glitch sound material and field recordings. His music has been described as "luxuriously mercurial" by Artforum and “frequently haunting” by The New Yorker.

Siegler received a Bessie Award for his work with Pam Tanowitz. Their collaborations have been performed at The Joyce Theater, Danspace Project, Central Park Summerstage, Lincoln Center Out of Doors, and many other venues from Brooklyn to Buenos Aires. In 2015, they were awarded an EtM Choreographer + Composer residency administered by Exploring the Metropolis. Siegler has composed music for String Noise, Crossman Dans(c)e and Yanira Castro. 

Siegler is a 2020-21 Artist-in-Residence at CAP/UCLA. Other awards and residencies include a 2020 (WPA) Virtual Commission from Works & Process at The Guggenheim Museum, a 2019 Composer’s Fellowship to Art Omi, The Abe Olman Scholarship from The National Academy of Popular Music and a Composer’s Residency at Wildacres. Siegler is a Part-time Lecturer at Mason Gross School of the Arts at Rutgers University.

At his studio in Chelsea, Siegler has worked with HBO, Showtime, David LaChapelle, Topic Magazine and a wide range of singer/songwriters.

Darkpark is songwriter, guitarist and vocalist Larry Flynn. 

He has been releasing music and performing under the Darkpark moniker since 2004.

Darkpark has been described in print as an unlikely hybrid of jam rock, indie pop and post-punk.
Larry’s vocals have drawn comparisons to Neil Young, Donovan, Bono, Lou Reed and Nico.


Larry has been performing in bar bands, tribute acts and solo acoustic for over 25 years. 
Blues, rocknroll, folk, bluegrass, jazz fusion, 
jam bands, indie rock, post-punk, avant- weirdness and his own unique original songs. 
Darkpark grew along the way.

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