Andy Meyerson “performs” my work, Structural Harm. Created at Traxler Studios (NYC), August 2015 for Slashsound Records.
for two percussionists: four toms and two glockenspiels with live-triggered audio and video playback.
Each drum has a trigger. Each trigger opens a gate. Each gate turns up the volume on a playing audio track. It’s like punching holes in controlled static. Written for Michael Garcia.
for solo percussion and live-triggered audio playback.
Each drum has a trigger. Each trigger opens a gate. Each gate turns up the volume on a playing audio track. It’s like punching holes in controlled static. Written for Joseph Van Hassel.
CPU (A post-apocalyptic electronic opera for the end of the world, in one act.)
‘Imagine the prison of repetition
A pitch-perfect perpetual misery
Awaiting each player ignition
Is a blanket of unusable memory’
for violin and piano.
Written for Two Blind Mice (Anne Rainwater & Rick Shinozaki).
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.
for solo glockenspiel and 6-channel delay.
Glock and computer outputting directional delay lines through speakers placed around the audience. Based on music by Rage Against the Machine. Written for Brett William Dietz.
My solo, Revolver, reversed, then fed through the machine backwards one section at a time is Revlover [REMIX]. Think ‘Memento’ for your ears.
for any keyboard instrument and six audio playback devices.
For soloist speaking and performing with offstage piano and six-channel audio playback devices surrounding the audience. Based on music and text by Jeffrey Moreira & Poison the Well. Written for Daniel Heagney & Anne Rainwater.
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.
A remix (and final installation) of my piece the Black Brave Ocean.
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).
for two singers, toy piano and video cues.
Players react to randomized video projections with assigned stage tasks while performing music material based on Ravel’s Gaspard de la nuit. Written for the Ekmeles Vocal Ensemble.
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 keyboard quartet.
A keyboard solo overdubbed 4 times. Excerpts from my percussion quintet, Clarity (2006).