IMPORTANT: Please listen at a LOUD comfortable volume that makes your ear parts move a little. You should hear a lot of air shifting. (Ideally headphones or biggish bass-friendly speakers.) 


Written in close collaboration with Distractfold Ensemble, featuring: 


Rocío Bolaños - bass clarinet (w transposition pedals)
Daniel Brew - electric guitar
Linda Jankowska -  bowed kick + snare drums (drums outfitted with bridges + strings)
Christian Smith - bowed kick drum (as above)+ other percussion
Alice Purton - cello (w transposition pedals)
Sabrina Schroeder - transducers (playing bass drum, floor tom, and plywood cubes via live-manipulated sound waves through transducers).

Transducer performance interface developed with programming and design support from Josiah Oberholtzer, and from Michael Acker of the Experimentalstudio de SWR Freiburg. 

This live-performance recording was made at the 48th Internationale Ferienkurse in Darmstadt (Aug. 7th, 2016)

BONE GAMES (2016) for amplified ensemble

Performed by members of the International Contemporary Ensemble (ICE) and Ensemble Evolution at the Banff Centre for Arts & Creativity, July 2017

Vln 1: Aisslinn Nosky
Vln 2: Nelson Moneo
Vla: Kyle Armbrust
Vc: Katinka Kleijn

desolation sound (2014) for string quartet

Terms of Occupancy is a 5.1 remix and extended variation of a previous stereo work, à la cire perdue (2004), this previous work itself a re-appropriation and reworking of materials from some of my previous instrumental and vocal works. The title Terms of Occupancy refers to the strategies and methods that bind me to the sounds I deploy as well as a preoccupation with multi-spatial determination for these sonic objects. The confrontation with an expanded spatial parameter led me to a substantial reshaping of the original sounds as well as a total recasting of their compositional possibilities.
Terms of Occupancy was originally an attempt to compose for an eight-channel audio performance system via a two-channel monitoring system, the missing ‘real’ channels being supplied by virtual and imagined spatial strategies given visual support within a multi-track audio sequencing environment.  Just as an orchestrator summons the sound of an oboe to mind when scoring for a large ensemble, or an architect engages their experience of shape, colour and function to conceive and model a new structure, composers draw upon both intuitive spatial knowledge and consciously acquired spatial predilections and explorations in their animation of sounding space. Composing Terms of Occupancy in this ‘virtual’ fashion meant imagining and hearing more than was audibly present upon playback. The challenge in subsequently re-composing and recasting Terms of Occupancy for the 5.1 format was the transposition and adaptation of a language of spatial movement within, firstly the octophonic and then the  stereo realm, to a fundamentally different spatial palette that afforded a new set of possibilities for meaningful movement and integration within the compositional design.

Terms Of Occupancy

And/Or (2019) - 14 musicians and electronics - Turning Point Ensemble - live-recording

This work explores the micro-synchronicity within a pulsation to create timbral and musical situations that are:
organic and/or synthetic,
mechanical and/or lyrical,
symmetrical and/or asymmetrical,
integrated and/or separated,
on-the-beat and/or off-the-beat,



Performers: Turning Point Ensemble
Conductor: Owen Underhill
Electronics: Anthony Tan

Terms Of Occupancy

Laurie Radford

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