30-minute project
pretty epic if you ask me

irene (bug bug da dub wubby boo remaxe)- Yasuhiro Abe

Justify My Love- Madonna VS Beautiful Soul- Jesse McCartney

Alberto Balsam-Aphex Twin VS Anaconda-Nicki Minaj

"When we reach the autumn's bend, will we wish that we were young again? Laughing in the face of time, If only we knew now what we did then...
How I wish that you were mine, and we could live again that summertime. To be that happy just this once again, if only we felt now just as we did then...."
- Minnie Riperton, "Return to Forever"

Laughing in the Face of Time (If Only We Knew Now What We Did Then)

A meditation/mourning on recent loss and coping through it all. 
recorded live at the Birenbaum, Oberlin OH on March 16th at Orson Abram (me) JR Recital

i miss you

Recording of the world premiere of "Caricatures" by NEW JOISE TRIO (Jerry Achtermann, Orson Abram, and Ian McEdwards) at the Second Annual Explorations Concert at Oberlin Conservatory, in Oberlin, Ohio, on March 15, 2023.
Jerry Achtermann- Composition
Ian McEdwards- Bass Clarinet
Orson Abram- Percussion

Caricatures by NEW JOISE TRIO

HEAD ON!

phantomic embodiment is a fixed media etude made from the live processing of
an improvisation session with friends in September 2024. To create this piece, I
used a live-processing patch in Max/MSP that I’ve been refining for several
years. In this improvisation, the patch served both as an instrument and as a
means of documentation.
Instrumentalist credits:
George Rogers- Alto Saxophone and Piano
Tim Picard- Pedals and Amp
Fish Guts- Goombox
Orson Abram- Snare Drum and Live Electronics
Leo Dilloway- Zither, Objects, and Reading

phantomic embodiment

Fixed Media Piece by Orson Abram, 2024-25.
What does it mean for music to feature the aesthetics of a particular genre without classifying itself as such? How do mere sound effects and short samples recall a specific musical movement and create nostalgia for a time now gone? How does music correlate with auditory aesthetics? I explore these questions by working with iconic 90s British Drum’n’bass and Jungle samples, specifically Blu Mar Ten’s Jungle Jungle sample pack and Inner City Life by Goldie, rendering them as electroacoustic materials.

dschungelskog

An electroacoustic etude exploring the concept of rhythm, made exclusively with Garageband Drum Machine Presets. Inspired heavily by the work of the New Complexity movement, especially the Percussion Solo Bone Alphabet by Brian Ferneyhough, Garageband Beat #54 is a multi-year dissection on beat-making. Composed initially as an inside joke during the composer's full-time summer job, this piece blurs the line between intentionality and a sincere lack of musical abilities. This work is also part of a series of sonic works that deal with sonic oversaturation and busy, complicated structures to externalize the composer's mind. Garageband Beat #54 raises the question: When do non-rhythms become polyrhythms? And when do those become heavily synchronized auditory gestures on a giant time scale that we call sonic phenomena? Are intensely choreographed polyrhythms just really a dubious excuse for the lack of time? How can we solve and work through complicated music in a way that makes sense? How do we process sound and rhythms that are seemingly fragmented, complicated, completely random, and sonically unreliable?

Garageband Beat #54

composer/filmmaker/percussionist/improviser/dj/
noisemaker/performer
BGSU MM '27
Oberlin TIMARA alum '25

Orson Abram

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