This is awesome! Thanks so much for working with our samples.

wonderfully weird. thanks. going to check out more of your  stuff.

©Allison Cameron, 2012. Live improvisation on three keyboards performed by one person. Casio SK-1; toy piano; analog synth.
 Live solo at The Tiki Room, Tranzac 9 10 12, Toronto.

Antler Etude (for Three Keyboards)(2012)

from the album "Everything in 3 Parts" (2003)

Birdsong

Gate Study 05a uses samples from the following pieces commissioned by Soundstreams:
- Hatch, Peter "Time Zones" (2010)
- Hui, Melissa "Fred and John Were Having Tea (When I Dropped By)" (2004)
- Ka Nin, Chan "The Charmer" (1994)
- Staniland, Andrew "Hex" (2011)
Check out http://www.soundmakers.ca

Escher Creak (2014)

I Got A Brother

i'm the gold-est goldfish
in yer pond
i'm the blue-est bluebird
in your tree
i'm the thorniest thorn
on your roseblossom bush
i'm the saltiest fish
in your sea

i'm the wildest wildflower
in the fiery fields
i'm the greenest evergreen
oh how i pine for thee
my heart races like a river
over rocky beds to sea
when i dream a dream of you
i know you never dream of me

i'm the loneliest loner
on a long and lonely street
i'm a foggy, foggy memory
on little kit-cat feet
that creeps the rails at night
and sleeps away the days
and scratches like a dog
at my door when i'm awake

fishpond
blue tree
thorn bush
deep sea
wild fields
evergreen
foggy foggy memory
little kit cat feet
love me
love me
evergreen evergreen
goldfish
dogdreams


01 Goldest Goldfish/ music by Paul Swoger-Ruston/ Words by Jim English

Ekaterina Levental & Duo Verso (Matthijs Koene, panflute and Stefan Gerritsen guitar) play Maurous quo Uno Fenno by Luciano Berio

Malurous Quo Uno Fenno by Luciano Berio

Live recording of my setting of Debora Lidov's poem, "Kirkegaard's Pantoum" for soprano (Desiree Soteres) and 14 instruments of the Alia Musica Pittsburgh ensemble conducted by Federico Garcia.  The poem was published in Five Points, Vol. 11 No. 3 and used by permission of the author.  
      Allied with the motif of 'paradox' in the poem, the setting exploits conflicting tuning systems.  The composition follows many of the strict formalities of the pantoum genre.
lidov at yorku.ca

Debora Lidov----Kierkegaard’s Pantoum   

I was born to build this house no one can sit in,  
to see it and for you to see it.  
More urgent a thing than virtue,  
having a point to make and making it meant   

to see it and for you to see it,  
a passage to come back to.  
Having a point to make and making it meant  
place collapsed. I listened,   

a passage to come back to—  
a street, a steeple, a stable.  
Place collapsed. I listened,  
I entered the glare of the paradox.   

A street, a steeple ,a stable.  
Brother, it wasn’t a building at all.  
I entered the glare of the paradox  
to dissect dialectics, to gut them.   

Brother, it wasn’t a building at all.  
It’s almost a music  
to dissect dialectics, to gut them.  
The organs gleam and beat on the stand.   

It’s almost a music—  
God’s demand, Abraham’s answer.  
The organs gleam and beat on the stand.  
I wasn’t born to preach.  

God’s demand, Abraham’s answer.  
No metaphor works for long. 
I wasn’t born to preach.  
Time cuts us and slips and lives.   

No metaphor works for long.  
You try me now like a girl tries virtue.  
Time cuts us and slips and lives.  
You carry me into a woods.  
 
You try me now like a girl tries virtue.  
You roll me up a sleeve,my brother.  
You carry me into a woods.  
You want me under the stars,   

my brother. My reader, you roll me,  
my future, my man, up a sleeve. 
I wasn’t born,  people, to persuade, to comfort. Under the stars. 
 I was born to build this house no one can sit in. 

Kiekegaard's Pantoum

Anatomy Lesson for viola

Track 7 from the upcoming album Glorify! Glorify! Glorify! by Bodies That Matter. Released by Optical Sounds, October 2015

For Coffins Sacrificed To Heaven

Leaving Earth

"Theory is a recipe for style" (James Tenney)
I'm an experimental composer and theorist. I'm interested in the phenomenon of music to the degree that culture (biology vs environment) can be removed from the musical experience. I don't believe in style, but I engage in it every time I create and think about music. I experiment, explore, improvise, compose, perform, teach, and theorize. Some of my pieces are bizarre, noisy, complex; others simple, ironic, sweet, cliched (though I'm most attached to the ones simple at heart). Atypical and archetypal forms; procedural and intuitive variation and development; various cultural reference points; acoustic/electronic, analogue/digital; spoken word; corporeality, gesture, action at a distance; spectral, vibrotactile, micro sound, microtonality, micro-polyrhythm, resonance, entrainment, emergent phenomena.
Activity:
King Apparatus (ska, 1990-95); The Artichokes (rock, 95-97); 90-Film/TV Composer (94-2003); Combo Royale (swing, current); Experimental Composer (current); Noiselandia (experimental pop, current); Frankie Foo (ska, current).

Mentors:
Mitch Girio: producer & song writer, long-time collaborator (King Apparatus)
James Tenney: American experimental/spectralist composer (York U.)
Glen Halls: A deep and eclectic musical mind (York U.)
Bob Gilmore: (Irish avant-garde musicologist)
Frank Russo: music cognition (director of Ryerson SMART Lab)

Influences (in no particular order)
Duke Ellington, Frank Zappa. Claude Debussy, Erik Satie, Carl Ruggles, Jeff Beck, Jimi Hendrix, The Faces, The Police, Robert Fripp, Roy Buchanan, Ali Akbar Khan, Mick Gooderick, James Tenney, Grant Green, Ornette Coleman, Tuvan and Inuit throat singing, Japanese shamisen, Hindustani classical, ancient Persia, South African Soweto, west African funk; punk, blues, 
Alvin Lucier
Cheap Trick
XTC
Devo




Escher Creak (2014)

Paul Swoger-Ruston

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