Performing and recording multiple tracks on a four-disc set of SSS’s definitive works, released on Navona Records (2017).
CPU (a post-apocalyptic electronic opera for the end of the world, in one act.)
An original story told in fourteen songs.
Mantra Percussion & Jamie Jordan perform, The Days Are Nouns, for Paula Matthusen’s album, Pieces for People (2015). Recorded and mixed at Traxler Studios (NYC) for Innova Records.
for violin and piano.
Written for Two Blind Mice (Anne Rainwater & Rick Shinozaki).
Scratchtracks: The Music of Jude Traxler (2014)
Featuring Brett William Dietz with Chemorocket and futureCities
for percussion quartet and roaming click track.
Recreating digital effects through acoustic phenomena, each performer’s computer-controlled click track moves ever so slightly to mimic reverb, flanger and reverse-delay effects live. As the piece plays out, these effects are varied and enhanced to sustain concisely out-of-phase relationships between each player (very close relationships create stutter effects, while longer phase distances create sweeping reverb tails). Written for Mangobot.
NYC new music supergroup, The Knells, releases Andrew McKenna Lee’s concept album of the same name on the New Amsterdam label.
Commissioned by Brett William Dietz for his album of glockenspiel solos, Nocturne, Revolver is a mind-bending work for solo glock and 6-channel delay. With speakers placed around the audience, Revolver plays on directional themes and riffs on motives from Rage Against the Machine’s tune by the same name.
for muted glockenspiel and soprano saxophone.
If you repeat something long enough, no matter how absurd or nonsensical, people will eventually believe it. Written for Brett William Dietz & Griffin Campbell.
If you hear something repeated long enough, you’ll eventually start to believe it – no matter how absurd.
The construction vehicles in Harlem emit this wild, bending pitch – especially in the wee hours of the morning. This was my rebuttal.
Excerpt from ‘Litany for the Whale’, a play by Matt Wilson
With the Sister Sylvester Theater Company
Kathryn Hamilton, Director
As part of Mantra Percussion’s Holiday album, “Mantratron Saves Christmas”, I rewrote my mom’s favorite holiday jingle with broken microphone cables and pennies taped to glockenspiel bars.
Remix of a favorite track of mine, Hurt, by Nine Inch Nails. Featuring Erin Frith.
for two cellphones and computer.
Both performers use amplified cellphones to text poetry back-and-forth as a randomized audio track unfolds to overwhelming volumes. Written for Police Academy (Mike Perdue & Mariel Roberts).
Based on 21 chords, the Black Brave Ocean evolved into 5 installations – individual compositions that are, essentially, bad copies of bad copies, creating structural and tonal variations that eventually collapse into a series of theatric games and concluding with no performers at all through audio playback.
Stuart and I met in June of 2007. After many years of discussing the lack of finesse and musicality in “electronic” music, we collaborated on a structure of graphic notations and electron manipulations. The result – a romp of improvisatory drumming and an iPod on shuffle.
For my wife, Katie, at Christmas. Featuring Kjersti Kveli.
75 excerpts from 75 different pop tunes – slammed together to tell the haunting poetry of Keeley Kristin.
for solo snare drum and prerecorded audio.
Snare drums recorded, sampled, affected and played back… with snare drum. Written for Chris Fauries & Chad Heiny.