Sillage (with Brendan Murray)

 sillage

Jagged sounds, abrupt breaks, propulsive tempos, sudden pauses, re-use of scraps, digital distortion, spun speakers, banned fades, improvisation, live recordings as raw material, multiple exchanges. Sound as the scent of perfume left in a space after a person exits.  Sources include upright bass, plucked piano, sine tones, wine glasses, leaves, grass, bowed metal, stairwell railing, blown organ pipe, voice, jaw harp, drums, church organ, and recordings of a plaza in Boston MA, a canoe in water, a refrigerator, fireworks, a straw broom, galleries and lobbies of the Met, a windmill in Maribor Slovenia, a train station in Limoge France.

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Amnemonic Site

amnemonic

Percussive bursts, linked events, micro-envelopes, spatial dissonance and crowd noises, Amnemonic Site: a “place of forgetting” – a temporary zone of amusia (the loss of ability to understand music).  Sources include wood, fabric, tuning forks, fireworks, beans in various containers, Balinese gamelan, oscillator, blown organ pipes, brass organ reeds, Serge modular synth, metal pieces, and recordings of parks and New Year’s celebrations in Chinatown, Manhattan.

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Stria (with Jgrzinich)

stria

Stria is the companion album to Confluence.

Sources include voice, bowed metal, pebbles, motor-driven instruments, beans in wooden and plastic containers, a worn copy of Alvin Lucier’s Music on a Long Thin Wire, and recordings of fire, a field in the Columbia Gorge, microphones dragged through grass, and previous sounds as broadcast on radios in rooms and on streets in Koper, Slovenia.

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Uva

uva

Sequential transformations, the slow revealing of hidden sonic events, linking of sonic layers, re-recording inside resonant objects and room tone. Sound as invention through disorientation (uva / grape / wine / disorientation / mutation = ova / fertility / emergence of form).  Sources include ceramic rods, bowed autoharp, metal chain, small glasses suspended in water, and recordings of wind in the Columbia River Gorge, WA.

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Umbra

umbra

Continuous pitched sounds with an undercurrent of white noise. Air on the edges of tone, amplified through a compositional process of massing and layering, the incorporation of room tone and re-recording of environments. Sonic shadows – sound as a casting of color or dark, the slowly unfolding shade of space within a field of time, “night music”.  Sources include blown bottles, pump organ, voice, bowed autoharp, piano, recorder, sagbut, and field recordings of fireworks, crickets, caves on the Oregon coast, a rotating electric sign in the cobblestone streets of Maribor, Slovenia, boiling water.

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Sunder, Unite (with Olivia Block)

sunder

Audio ‘chopping’, mutual destruction, improvisation, live recordings as raw material, free exchange.  Sources include grass, beans, pebbles, small cassette players, blown bottles, flute, reeds, oboe, piano, bowed wires, metal objects, wood pieces, and recordings of crickets, frogs, crows, streets and temples in Tokyo and Kyoto, the botanical gardens in Paris, a wooden ladder.

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