Cactus Interlude (2009)

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Recently had a week off and took some time to write for myself (a rare occurrence nowadays!); this piece is for a personal project that you may not see or hear from for years, but I'm immensely proud of it and decided to share it with y'all.

Been experimenting with some of my deeper sample libraries, fiddling with mic positions to try and get the most natural digital performances possible. It's close to sounding real, but I still have yet to find that secret sauce that will push it over the edge.

Was inspired by the film noir genre and its big "Hollywood" sound, with their imperfect recordings and soaring melodies. I think musically speaking I captured what I was going for fairly well!

As always, would love to hear y'alls thoughts, and a like or share is much appreciated!

City of Clay

Image created by me.
https://www.deviantart.com/leehon/art/Lurid-Conjecture-903826639

Cruel Curiosity

Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics Verbal Gymnastics

Verbal Gymnastics

Beyond the Pale

Made with my Korg SQ-64 and the Roland D70.
Recorded/played 64 step sequence which I speed up a bit and manipulates while replaying it with the sequencer, added delay to give it even more life.

Artwork by Gilbert Garcin: https://artfacts.net/artist/gilbert-garcin/17699

I Never Heard The Bell

Nightcap

I Brought You Into This World

Strintrio II – friction 
for sringtrio 1995 – 97

The starting-point for friction was an observation of the conditions under which tones are produced on string instruments, which yielded material illuminating these conditions.  Stroke speed, pressure (i.e. the physical conditions) and also the material properties were brought into a relationship with one another, which on the one hand takes on the form of a concise sound progression and on the other hand reflects the fundamental conditions governing this set of instruments.  In the course of the piece this material framework is stressed in both directions: the progression of sounds and the events that constitute it are analysed by means of isolation and maximisation processes through which they undergo qualitative changes.  The analysis is conducted from the point of view of the frictional conditions, and this viewpoint becomes itself the object of compositional analysis by way of the elements that represent it. 
 
Analysing all the material and formal qualities relevant for perception (from the point of view of the frictional conditions) constitutes the attempt to draw upon fundamental conditions for the conception of music.  The goal is to grasp also the conditions of perception- of listening.  It is the attempt to make listening directly thematic: listening as an absolute event, listening as a socially conditioned event and listening as a creative act on the part of the listener.  It seems to me that the direct questioning of these phenomena through the tonal reality of music is the only way to work on renewing the act of listening.

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Technovocal

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