***Please use your fanciest audio equipment*** 

- 1st Prize at the Iannis Xenakis International Electronic Music Competition (2021) form the Contemporary Music Lab 
- 2024 PRISMS Contemporary Music Festival call for scores, Honorable Mention

The intention behind this piece is mainly to construct a discourse distanced from the elements that are traditionally explored in electroacoustic music, eg. texture and timbre. While these elements are undoubtedly present in the piece, it is first and foremost the rhythmic impetus — working around an unstable pulsation — its energy, as well as the imagery and the dramaturgy of the work that is highlighted. 

I have worked exclusively with a collection of sounds from my personal library as well as sounds that have been recuperated online (sort of objets trouvés), like a depository where I drew the parts that were best suited; hence the title “Junkyard Construction”. 
This comes from an interest to work with fairly limited resources (concerning equipment), which is also why it’s a stereophonic piece.
   
“Why stop the swing?” refers not only to the rhythmic content, but also to the swaying of unstable images that are being constantly re-contextualised, progressively detaching and revealing themselves as the inner drama unfolds.

Junkyard Construction: Why stop the swing?

long waving continuing sound, a call.
A lament.

Raha

Phase 6.

Musically discribing ihe intensity of undergoing a crucifiction

Phase 5.

Solo Flute: Continue 1.4

Composition based on different bell sounds all synthetically created with my own sound synthesis system VOSIM66. For more info see www.vosim.eu

VOSIM Mafra's Dream

Composition made with my own sound synthesis software Vosim66.

The music is inspired by the character Ada from the novel Ada or Ardor of Vladimir Nabokov. The track belongs to my music Lucette's Story. Ada and Lucette are sisters.

VOSIM Ada-self

momang

Reverie is an acousmatic composition that leads the listener through an immersive fantasy centered around deconstructed music boxes. The work comprises eight sections that alternate between explorations of the music boxes’ gears and chimes. In the work, the music boxes’ sounds are pulled apart, exaggerated, expanded, and combined with other sounds whose timbres and textures are reminiscent of the original. As the piece unfolds, the timbres increase in spectral and textural density, and the associations become more and more fantastical. Gears are transformed into zippers, coins, chainsaws, motorcycles, and fireworks, and the chimes morph into rainstorms, all sizes of bells, pianos, and more. 

Reid composed the work during residencies at the Ucross Foundation and the Virginia Center for the Creative Arts. 

Reverie won First Prizes in the 6th International “New Vision” Composition Competition “Galaxies” in memory of Nicolaus Copernicus, the 8th KLANG! International Electroacoustic Composition Competition, and Musicworks' Electronic Music Composition Contest; Sound of the Year's “Composed with Sound Award”; and Second Prizes in both the Xenakis International Electronic Music Competition and the XIII° International Destellos Competition.

VOSIM Ada-self

Heinerich Kaegi

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