sound & video
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.
Location recordings, continuous abrasion, open environments, compositional drift, site-specific improvisation and free exchange. Sources include rubbed organ pipes, trees, bowed wires, metal objects, wood pile, glass jugs, blown bottles, forests in Estonia and Finland, resonant oil tanks, wind.
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.
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.
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.
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.
Confluence is the companion album to Stria.
CD, 50 min.
Intransitive Recordings INTO22
Composed 1998 – 2000, released 2002From the liner notes:
(Particle [Cell] > Wave [Body])
The following piece Confluence is the result of a continual two-year collaboration and exchange. Significant not only as final compositions, these pieces are nearly complete documents of our individual and collective output relating to sound experimentation, recording and composition during this period. Although the listener in the end is left to experience the acoustic presence created by these works, a survey of the elements that comprise what one hears along with some general information concerning our intent is presented here. Our primary thread of research over this time was to study evolutionary patterns of sound dynamics through various methods of live generation and recorded mediums that focus on multiplications and groupings. While this has been one of the fundamental bases of our work since the beginning, in these compositions a concentrated effort was made to explore how our artistic and conceptual ideas of sound experimentation affected the physical, perceptual influence of intensive listening. Much of this has to do with the idea of resonance; the phenomenon of natural vibrations that give rise to intensified or stable structures within sound bodies and fields.
