Category: solo

CD, 53 min.
Sonoris sns-06
composed 2006 – 07, released 2008
Cover art by Harrison Higgs

Choral clusters, animalism, extended spaces, natural acoustics, awkwardness, percussive bursts. Site-specific improvisation, blind layering, sonic hybrids, envelope manipulation, faulty tape recorders, live feedback/distortion devices.  Sources include voice, hammer dulcimer, glass xylophone, metal objects, feedback, signal generator, detuned piano, harmonica, wood pieces, fireworks, chimes, bamboo swords, sawblades, glass on tile, bass drum, flute, plucked autoharp, tuning forks, snare drum, 300 lbs of rock salt, a book, and recordings of rain in a half-finished cabin, melting snow on leaves, rain on a plastic roof, struck wood (from inside a well pipe), a graveyard and a schoolyard in Portland, OR, ice crystals and wind in the Columbia Gorge, WA.

Continue reading “Flock & Tumble” →

mini-CD, 20 min.
20City 20-9
Composed 2001, released 2003

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.

 CD, 42 min.
edition… xxv
Composed 1999 – 2001, released 2003.

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.

Continue reading “Umbra” →

LP, 37 min.
Alluvial Recordings ALL004
Numbered limited edition of 300
Composed 1998 – 99, released 2000

Organic and synthetic materials in collision, the layering of divergent acoustic spaces, condensed structures, jumbled sounds and dynamic swells. Basic materials are infinitely transformable, evolving and rearranging through cycles of growth and decay.  Sources include bowed wire, harmonica, cello, dry leaves, glass shards, ceramic rods, paper, hand cymbals, small bells, rocks in a wooden box, metal rods, cardboard tubes, tuned cowbells, mechanical viola, seeds on tin foil, bowed glass, recordings in a resonant stairwell.

CD, 53 min.
Kaon ao98
Composed 1997 – 98, released 1998
Cover image by Derek Pollard

Rubbed, dragged and scraped sounds of friction, with micro-pitch artifacts, acoustic reverberations and massed tones. Sources include large-diameter glass tubes, wood, large sheets of tempered-glass, bricks, plastic bucket, wine glass, metal bowl, chimes, air organ.  Objects are molecular clouds of varying densities.  Abrasion is a method of activating resonant qualities of objects, instigating a porosity between the surface and the ‘inside’ of materials, the intermingling of molecular and acoustic “clouds”.

Continue reading “Tracing the Skins of Clouds” →