3 Non Algorithmic Human Interactions represents a new compositional style for me and a new direction in my guitar playing, exploring elements of Minimalism and borrowing from Neo Classical composers such as Ólafur Arnalds and Nils Frahm. The score for "Non Algorithmic Human Interactions" will be published by the Canadian publisher Les Productions d'Oz the same day the track is released.

Non Algorithmic Human Interactions 3 - The Promise Of Something New

Non Algorithmic Human Interactions 2 - What Time Is Now

Non Algorithmic Human Interactions 1 - What I Wish I Said

“Wherever You Are” is the music I hear in my head whenever I find myself in an empty public space. It’s the music of ghosts, and a kind of loneliness that can only be found in abandoned laundromats and airport terminals.  

All the sounds on “Wherever You Are” are made with a guitar. Layered, highly-processed guitar signals orchestrate a simple, declarative melodic line.

Wherever You Are

My setting of Josquin des Prez' Chanson "Mille Regretz" for four electric guitars and EBow. I have no good reason for doing this really, it's just a bad idea who's time had come. 

I played all the parts on my trusty American Telecaster through a variety of amps (Fender Blues Deluxe for the Bass, Vox AC15 for the middle voices, and Mashall DSL 20 for the Soprano, all mic'd with a blend of an SM57 and a Royer R10). I ran the bass through a Pitchfactor algorithm on an Eventide H9 and a Strymon Mobius for a hint of filtered fuzziness. For the Soprano part, I used a Mojo Hand Speakeasy Boost, Colossus Fuzz, and my favorite no-fuss reverb unit: the DigiTech Polara. For the middle voices, I used two channels of a Mojo Hand Odessa, and again through the DigiTech Polara.

Josquin des Prez-Mille Regretz (arr. for Four Electric Guitars and EBow)

Steve Reich’s 1987 Electric Counterpoint brilliantly established the electric guitar within an art music context.  Reich originally imagined the piece performed by a single guitarist playing over a prerecorded track consisting of up to 10 guitars and 2 bass guitars. A version for guitar ensemble also exists with all parts performed live. First recorded by Pat Metheny on the 1989 Nonesuch release “Different Trains,” Electric Counterpoint has been performed, recorded, rerecorded and sampled enough that, even if you don’t know the piece, you probably kind of know the piece. I’ve performed Electric Counterpoint a few times using Pat Metheny’s backing track but I’ve always had a yen to make my own version. I found the experience of learning and recording all the parts profoundly inspiring. As an unapologetic gearhead, I also relished in the opportunity of deciding which guitar paired best with which amp, microphone, etc. for every part.*

Guitarist David Tannenbaum worked closely with Steve Reich while adapting the composer’s 1994 Nagoya Marimbas for two guitars. Tannenbaum’s recording features two classical guitars, but with some minor technical adaptations, Nagoya Guitars becomes an idiomatic gem for two electric guitars. 

For the very first release on my own Bend Records label, I performed all the parts, produced, mixed and mastered the project myself.

*Performing guitarists: I would be delighted to share my recording of Electric Counterpoint without the live guitar track. Please contact me for details.

Reich - Nagoya Guitars

Reich - Electric Counterpoint 3 - Fast

Reich - Electric Counterpoint 2 - Slow

Reich - Electric Counterpoint 1 - Fast

J.S. Bach Sonata BWV 1003 II Fugue

J.S. Bach Sonata BWV 1003 I Grave

Arranged by Cochran. TRIAD is Nancy Stagnitta (flute), Crispin Campbell (cello) and Matthew Cochran (guitar)

Jacques Ibert-Andante Espressivo from Deux Interludes performed by TRIAD

Max Richter's gorgeous "On the Nature of Daylight" arranged for multiple electric guitars and electronics. All parts performed by Matthew Cochran.

Matthew Cochran

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