THAT'S RIGHT! I WIN :D

i rlly wanna stay (demo)

feelz

aaahghghgh

you have no talent

THEY TRYNA TAKE MY FLOW

NEVER LETTING GO

I FEEL LIKE IM GONNA

wish ud get out my face might go mia might just blow my brain rip kurt cobain

remember when you said the world is yours?

euphoria (ft. liam hutchings)

i'm glad we met

poppin out

vamps r seeking amy

ignore it

once_upon_a_december

toxic (ft. liam hutchings, ari harris, katie warren, autumn culp, and brock bierly)

5sec (prod. bompf)

feels like corpse2

i'm not scared of anything

YESFEST 2024

eight easy steps

she only want me for my cosine

a collaborative compilation made in Contemporary Chamber Music Ensemble @ Oberlin

bring me my inhaler

cell phone

gcal (i didn't know)

chamber music

our recital

finish what i started

far from you

straight up to my face / i've been down so long

Long before digital audio workstations, post-production effects like reverb, delay, EQ, and splicing were physically manipulated. These techniques were pioneered by Halim El-Dabh in Cairo around 1944 using wire recording and aeroacoustic manipulation in his seminal electroacoustic Wire Recorder Piece.

In exploring Halim El-Dabh’s role in developing Electronic Music, tough to talk was born.

In this piece, I recontextualize microtonal synthesizers tuned to just intonation and vocal samples from Mesytara by Lamis Kan, layered with samples from Starring Role by MARINA. More than half of the piece consists solely of MARINA’s voice and a field recording from a nearby playground. Using REAPER, I reanimate these voices into a blackout poem that reflects my parasocial relationship with my Palestinian identity.

tough to talk

helpless

roxy phantom

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