Historical context: while performing at the 2012 Super Bowl, musical artist M.I.A. extended her middle finger.  The world came precariously close to ending.  http://www.espn.com/nfl/playoffs/2011/story/_/id/7544723/super-bowl-2012-singer-mia-flips-middle-finger-madonna-halftime-show

Aphex Waits
I made a 13 min mashup of some Tom Waits songs and Aphex Twin's new EP. 

Aphex Twin: "disk prep calrec2 barn dance ( s l o )"
Tom Waits: "Frank's Wild Years"
Tom Waits: "What's He Building?"
Aphex Twin: "hat 2b 2012b"
Tom Waits: "Clap Hands"
Aphex Twin: "diskhat1"
Aphex Twin: "diskhat ALL prepared1mixed 13"
Tom Waits: "Lowside of the Road"
Aphex Twin: "hat5c 0001 rec-4"
Tom Waits: "Swordfishtrombone"
Aphex Twin: "diskhat2"
Tom Waits: "Frank's Wild Years"


2015 Aphex Waits (Aphex Twin & Tom Waits mashup)

Recent Scribbles

Daft Punk- Essential Mix - 1997.03.02

Art and Picture Collection, The New York Public Library. "Mattathias's zeal." The New York Public Library Digital Collections. http://digitalcollections.nypl.org/items/510d47e4-37e5-a3d9-e040-e00a18064a99

Video

Apostasy

Get Your Mind Into the Guitar

Field Recoding (note lack of “r” in “co()ding”) is a process I utilize to resituate field recordings into new surroundings. Most often utilizing my own field recordings with my modular synthesizer. Often, the first step in Recoding is re-recording the source Field Recording inside my studio space. I approach these inside recording sessions just as I would my standard outside field recording sessions, meaning that the environment and sounds within it are very deliberately chosen and engaged with. In the case of this piece, I played the original .wav file directly from a Dropbox folder on my iPhone 7+ which was sat within a Tibetan Singing Bowl. The singing bowl’s resonance, excited by the iPhone’s speakers, was captured by a contact microphone attached to the outside of the bowl. The low drone heard in the left channel at the start of the piece is the sound of a large tractor clearing debris in the park a block from my home. Its rumbling travelled through the ground, up the walls of my home, and vibrated the desk that the bowl and phone sat on. At approximately the 1:18 moment of the piece, I turn on my own vacuum which was recorded to the right side of the sound field utilizing a coil pick-up attached to the exterior of the vacuum, revealing the inner workings of the electromagnetic field running through it. The contact mic picked up a bit of the ambient sound of my vacuum as well. At approximately 3:33 of the piece, I turn off my vacuum and allow the original recording to play out. Finally, we return to the low drone provided by the tractor.  The title of the piece is a play on Jeff Koon’s “New Hoover Convertibles (1981)” I’m always awed by the sheer dimensions of places like Southwell Minster (where the original vacuum recording was captured). The sense of literal space is overwhelming on a cosmic level. I like the no-nonsense idea of somebody vacuuming such a space. Moving the air (dare I say “Spirit”) in a very honest and humble way. My piece attempts to bridge the space between my sacred space and another. I situated the Recoding within the bowl,  a sacred object which is precious to me. In Koons work, he’s elevated something which could be seen as “lowly” to a new, higher station. A redemption of sorts.

Original source recording courtesy of Cities and Memory: 

"Vacuum cleaning going on inside the cavernous interior of Southwell Minster cathedral - some fascinating reverb and a bit of a different sacred space sound."

New Southwell Minster's Converted Bowls (Song for Jeff Koons)

Gloss

Pre-Order

Grebenstein - "Loss"

Airport ~ 'Game Of Thrones' OST

❤ Olivia Sullivan - some piano ❤
❤ Miranda Pharis - composition ❤

'Game Of Thrones' OST

nothing to see here, nothing to see

Shocking, just shocking behavior.  Who will think of the kids?  Etc.  And oh look, there's even a video:  http://www.youtube.com/watch?v=ifoRlWlYJdk&feature=youtu.be

M.I.A. don't give a cash

Lazy Dada

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Lazy Dada

Hila Marzan

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