Village in the Park
Composed 2006-9. Digital release on archive.org under the Cash On The Nail netlabel.
Derived from hours of sound data, based primarily on acoustic sources from undesirable noises of construction, garbage collection, heavy equipment, cats, children, insects, and so on. All data selection and placement determined by byzantine games of chance, adjusted minimally by taste.6 tracks, 1:18:54
Composed 2006. Digital release on archive.org under the Cash On The Nail netlabel.
Electro-acoustic and computer music collage, based around musically useful fragments taken from modular synthesis and granulation jams. The overall intention is impressionistic, something after an exhibition of metal and stone artefacts, and fragments of early writings of which the other half turned to dust.
Concrete materials, found sounds, NI Reaktor ensembles, NI Absynth patches, strategies, composition, process, sound collage.3 tracks, 57:21
We Considered Ourselves a Civilized Society
Composed 2003. Digital release on archive.org under the Cash On The Nail netlabel.
This is a companion or appendix to "14 Textures". This work is a contemplation about duplication, perserverence, and decay, expressed literally through altered, degraded delay and near repetition, in gross parallel with individual lives, organizations, nations, systems of law, cultures, or forms of life, and theoretical or theological perspective that observes these processes and developments with distant indifference.
Sound synthesis, concrete source materials, signal processing, resynthesis, selection, composition, arrangement, collage, and mixdown.1 track, 15:46
Composed 2002. Digital release on archive.org under the Cash On The Nail netlabel.
Musical applications of aesthetic strategies suggested in "Excerpts from Expert Judgement on Markers to Deter Inadvertent Human Intrusion into the Waste Isolation Pilot Plant", Sandia National Laboratories report SAND92-1382 / UC-721, p. F-49 http://downlode.org/Etext/WIPP/
Sound synthesis, concrete source materials, signal processing, resynthesis, selection, composition, arrangement, collage, and mixdown.3 tracks, 57:21
Live at The Saint, NYC, Safety in Numbers Festival
Recorded October, 2000. Slated for digital release on Bandcamp, and/or on archive.org under the Cash On The Nail netlabel.
Live granular synthesis session. It was not possible to record the show. The performance was in the basement of a club in Manhattan, also piped to the main floor. The recording is a rehearsal of the same piece. Due to some local regulatory and license issues, no dancing was allowed.1 track, approx 45 minutes.
Produced in 1999. Issued on CD in January, 2001, by Mad Monkey Records, and distributed by Nu Gruv Alliance.
Rhythms and digital textures that present numerous blended and contrasted colors and moods. While it strays far from the conventions of dance-related electronics, the emphasis is on groove-oriented style.11 tracks, approx 49 minutes.
Produced in 1997. Issued on CD in 1998 by Mindfield Records.
As the tracks traverse minimalistic techno, to drum-and-bass rhythms, to clinical ambience, the album anticipates some later developments in forward, rhythmical electronic styles.13 tracks, approx 66 minutes.
Soundtrack from "Chaos Theory in Practice"
Produced in 1996 to accompany the video installation by Sofia Bogdanovic. Issued on CD in October, 2000, on the Circumvent label.
A multi-layered, rapid-edit collision between nature and civilization, with the anchor of a slowly-unfolding soundtrack which develops from chromatic harmony, through skewed rhythms, to chopped samples, and back again.45 minutes.
The Waiting Room
Produced 1997. Circulated to friends and associates. Slated for digital release through Bandcamp.
Techno-collage, rugged drum-and-bass rhythms, and electronic abstractions, built into mutating structures that trip around genre markers.8 tracks, approx 56 minutes.
Composed 1996 with later revisions and cuts. Slated for digital release on Bandcamp and/or on archive.org under the Cash On The Nail netlabel.
Maximally-minimalistic, glacial drone. Attention is rewarded in measure as time loses shape. Produced primarily with an Oberheim Matrix 6R analog synthesizer and Digitech GSP-2101 processor, and edited in a DAW.1 track, approx 50 mins.
Shifting Frame of Reference
Produced 1995-6. Circulated to friends and associates. Slated for digital release through Bandcamp.
Represents a period of transition, during which the rhythmical style evolved from industrial dance, post-punk, and EBM influences, toward techno with a whiff of Krautrock tendencies.11 tracks, approx 74 mins.
Surface, pt. 1
Recorded 1995. Digital release on archive.org under the Cash On The Nail netlabel.
Sound source is an upgraded Digitech GSP-2101 digital signal processor, programmed with custom patches that use feedback paths among factory delay, filter, equalizer, pitch shift, mixer, etc. The seeds are the hum from the tube in the analog pre-amplifier section, and glitches produced within the digital section. It was recorded directly to DAT in the order presented, with a minimum of editing to adjust on-the-fly edits and unwanted glitches. Whether or not this is successful work, it offers an early signpost for later compositions.1 track, 25:27
Recorded in Fall 1988. Issued on cassette in 1990 under The Cathartium imprint.
I have some copies of this cassette for posterity. The production is a bit rough, and the age is apparent. However, it embraces the limitations of the equipment available, in the framework of industrial techno-pop and electro mutations. At its best, this recording has drifted oddly outside of time. Reissue or digital release is possible in the future.7 tracks, approx 44 mins, vox.