Video here: https://www.youtube.com/watch?v=8V0Jk6etzw8

soprano saxophone: Julian Velasco
alto saxophone: Joe Connor
tenor saxophone: Chris Forbes
baritone saxophone: David Schreck

written: 2019-2020
recorded May 20th, 2021 at Evanston SPACE

minus (2020, for saxophone quartet and electronics)

rapid change, anxiety, and exhaustion. 

ScoreFollower video: https://www.youtube.com/watch?v=cMoZCoctIGU

cello - Seth Parker Woods
Recorded at Northwestern University in November of  2021.

STRIX (2021, for cello and electronics)

“SILO” is a work composed for feedback-augmented bass drums and electronics, and was written for the Line Upon Line percussion trio.

Sonically, this work explores the complex acoustics of feedback systems, vibration and the transduction of sound through physical objects, and performer agency and control of chaotic systems.  Compositionally, this visceral and demanding piece presents a constantly fragmenting web of materials which blur and shift in and out of focus; exploring a world in which the microscopic and the monolithic are harshly juxtaposed, and in which dizzying chaos and stasis exist nearly simultaneously.    

Performance of “SILO” is facilitated through the use of a video score constructed out of materials shot and edited together in isolation.  The performers respond to the same video score in real-time using intersecting sets of rules and strict timing cues, yielding a performance practice similar to that of a foley artist.  The subtle differences in interpretation reveal a sonic spectrum that shifts wildly between coherence and disjunction.  From one perspective, the performers are simultaneously “siloed” apart from one another.  However, from another perspective, they are all bound to the same score and exist as one unified vertical sonic structure.

SILO (2023) // Performed by Line Upon Line

Squint Skyward and Listen— for piano and electronics. Performed by Justin Paul Ortez. Recorded at the Dancz Center for New Music, University of Georgia on May 2, 2023.

Squint Skyward And Listen—

This piece uses fragments of text from a guide on how to beat the point- and-click video game "Eric the Unready". The walkthrough assumes that you've tried to play the game before, so it doesn't bother providing context for its directions. The result is a series of directions that are strange and absurdist; creating a narrative that is semi-followable but deeply meaningless.


This Walkthrough Assumes That You Tried

The first in a series of experimental pieces for I-pad controlled laptop.

Performed and recoded by: Elliott Lupp

Brux No. 1 (2019, for iPad controlled Laptop)

semi-human//semi-sentient

video: https://www.youtube.com/watch?v=-zeVTkOYe-E&t

a structured improvisation composed for the experimental duo: MOUTHS 
(Elliott Lupp and Kristopher Bendrick)

Commissioned by: ASCAP/SEAMUS

erase-repeat (2020, for E. Guitar, Viola, and Live/Fixed Electronics)

Spate II (2019) by Nathaniel Haering - chamber ensemble and electronics -
Live premiere recording 10/31/2019 UC San Diego Conrad Prebys Concert Hall

Steven Schick, conductor
Teresa Diaz de Cossio, bass flute
Juliana Gaona Villamizar, oboe
David Aguila, trumpet
Berk Schneider, trombone
Michael Jones, percussion
Rebecca Lloyd-Jones, percussion
Ilana Waniuk, violin
Kathryn Schulmeister, contrabass

Program Notes: While seeking to expand on the concepts and material found in the original iteration of Spate I was immersed in its erratic, panicked atmosphere. I became obsessed with the idea of frantic, futile solos lashing out violently from silence with such constant intensity and fervor that they resulted in a kind of horrified stasis, a unit of grotesque and vicious sustain, striving endlessly but going nowhere, grasping desperately at nothing in the pursuit of a distant unseen hope.

Spate II: Amplified Chamber Ensemble and Electronics - Live Premiere

-  Elliott Lupp is a composer, improvisor, visual artist, and sound designer whose work often invokes images of the distorted, chaotic, visceral, and absurd. This aesthetic approach as it relates to both acoustic and electroacoustic composition has led to a body of work that, at the root of its construction, focuses on the manipulation of noise, extreme gesture, shifting timbre, and performer/computer improvisation as core elements. 

- Elliott has received a number of awards and honors for his work, including a 2019 SEAMUS/ASCAP Commission, the 2019 Franklin G. Fisk Composition Award for Chamber Music, and Departmental and All-University awards in Graduate Research and Creative Scholarship. His music has been performed at a variety of electroacoustic festivals including N_SEME, CHIMEfest, Electronic Music Midwest, MOXsonic, Fulcrumpoint New Music Project, SEAMUS, and Electroacoustic Barn Dance, and by such ensembles as the Dutch/American trio Sonic Hedgehog (flute, clarinet, and electric guitar), the Atar Piano Trio, Found Sound New Music Ensemble, various members of MOCREP, The Chicago Composer's Orchestra, Fonema Consort, and Ensemble Dal Niente. 

PhD - Northwestern University (currently pursuing) - Alex Mincek, Jay Alan Yim

MM - Western Michigan University - Christopher Biggs, Lisa R. Coons

BM - Columbia College Chicago - Eliza Brown, Kenn Kumpf