Your favorite gypsy-cursed gumshoe's got a good old-fashioned Rock n Roll radio show. DIG IT!

ON THE BEAT with Detective Wolfman - PILOT

Setting the tone for the End of Summer - the highs, the lows, the lovin' and the longing. I've got the goods to get you through to Autumn. DIG IT!

ON THE BEAT - E2 - "Midriff Summer Spectacular!"

No themes, no gimmicks, just Rock n Roll! DIG IT!

ON THE BEAT - E3 - "Rock And The Hard Place"

"Last Gasp" is a MOVER and a GROOVER! Put a little STRUT in your STRIDE and HIT THE BRICKS with your old buddy, Wolfman!

ON THE BEAT - E4 - "Last Gasp"

As a means of advancing my knowledge, I watched a video by VHS Glitch and formulated this song while watching along. Hope you like it.

Subtle Contamination

A Most Perfect Blue, for Grand Organ
written for and premiered by Autumn, on June 11th 2023.
(I normally dislike writing extensive program notes, but these may prove helpful for your listen!)
This piece is (as the title alludes to) concerned with the notion of identity. The gentle chorale tune that serves as the basis for much of the thematic material in the work has found itself haunting me for the better part of a year, and A Most Perfect Blue serves as my attempt at exploring the possibilities inherent within the theme while also acknowledging my struggles with developing and contextualizing it. As the work proceeded, I opted to more explicitly transform the work into an intertextual document, making numerous references to pieces that carry sentimental value to both myself and the premiere performer, Autumn. The result of this is a series of attempts to contextualize and "complete" the chorale across the piece's four movements, to varying degrees of success. The overly grandiose climax of the finale (and subsequent denouements) is conceived as giving the theme a moment of glory before it eventually falls into nothingness, either leaving itself behind entirely or with only a faint echo of what it once was. 
The first movement, "Identit(y)(ies)" opens with two statements of the central theme (the second accompanied by a lyrical countermelody) before fracturing and disrupting itself with lush chords sourced from the finale of Messiaen's Nativitie du Seigneur, the materials developing and restarting time and again until a grand climax. 
Movement II(a), "Fractures" consists of a series of varyingly contextualized fragments, firstly developing the countermelody and eventually transforming it into Celes's theme from Final Fantasy VI. Slowly more fragments from movement one are reintroduced and recontextualized, never stating the chorale outright but often alluding to it.
II(b), "Complete in and of it/myself" repositions the chorale against a series of preexisting themes, one I wrote for an unpremiered podcast, a return of Celes's theme, the second movement of Alfred Schnittke's Piano Quintet (and his adaptation of it into a Waltz for the film Agony), culminating with an extended sequence pairing it with one of the most striking and heartwrenching passages in the organ literature, from Cesar Franck's Chorale No. 2 in B minor. Franck's ultimately affirming resolution is denied in this context, leading directly into...
Movement III, "Shattering | Mending," which opens with vicious low register clusters and high mixtures overtop, an oblique allusion to the ending minutes of Iannis Xenakis's Gmeeoorh. The Messiaen chords make their return, in tandem with cascading seconds that increase in intensity until massive clusters and glissandi override the texture. An increasing density of quotes and allusions proceeds throughout, including Koji Kondo's Saria's Song and Ganondorf themes, the finale of Louis Vierne's Symphony No. 6, and the B-A-C-H motif. At last, all these materials dissolve into frantic cluster glissandi and one final statement of the central chorale utilizing the full organ - this is followed by an apocalyptic cadenza and the performer's choice of endings: a nostalgic fadeout, or an impulsive leap into the void.

A Most Perfect Blue (2023, world premiere)

good shit
made for the newgrounds dreamcast collab 2024

DEEP SERENE

For my 25th episode I'm getting autobiographical with deep Wolfman LORE! It's a time capsule of the days when I was young and hungry! The good, the bad, the ugly. Dig it or DIE!!!

ON THE BEAT -E25 - "The CD Case Files"

Detective Wolfman stalks the low roads of HIGH STRANGENESS in this investigation and celebration of weird and not-quite-right. Dig it or DIE!!!

ON THE BEAT - E27 - "High Strangeness"

Greetings everyone,
So I was going to release this on YouTube, but I just couldn't wait. This is my first ever sonata, sort of. I labelled this ode to the little heritage railways of Wales a "sonatina" due to the length. This piece clocks in at just under 9 minutes, so it's nothing to special in length. However, it does feature four movements, and is penned in the wickedly cheerful key of A-flat Major. I loved writing this piece for it presented be an opportunity to merge my love of railways found in the United Kingdom, and my craft of composition. So I hope you all enjoy this little piece that marks a large step in my life as a composer. The image included is an image of the Talyllyn Railway's Number 3, "Sir Haydn," at Abergynolwyn in 1992 by Gillett's Crossing.
Thanks for listening,
Jake C.

2017-18

Piano Sonatina No. 1 "Rheilffyrdd Bach" in Ab Major, Op. 8: I. Talyllyn: Allegro

On 6/18/2019, the world lost one of the greatest men I've ever had the fortune to know. He was a huge inspiration to me as an artist and as a person, and not a day has gone by that I haven't kept him in my thoughts. He was a genius who had brilliant artistic vision, and never deviated from his own inner compass. He was never afraid to be true to himself, even if he stood alone.

He was a real person. He was a real hero. 

Fact.

In Honor of S.J. Wright

In Memoriam - For a Real Hero

A novice composer, aspiring filmmaker, and devoted cinephile.

Piano Sonatina No. 1 "Rheilffyrdd Bach" in Ab Major, Op. 8: I. Talyllyn: Allegro

Jacob Calta

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