Andy Meyerson “performs” my work, Structural Harm. Created at Traxler Studios (NYC), August 2015 for Slashsound Records.
My solo, Revolver, reversed, then fed through the machine backwards one section at a time is Revlover [REMIX]. Think ‘Memento’ for your ears.
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.
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.
In 2009, I built a homemade audio slicer that cleverly manipulates any audio track it receives. It quickly thereafter become one of my favorite musical robots. This is a short preview of trax_sequencer1 randomizing Erin Frith singing Hurt, by Nine Inch Nails.
75 excerpts from 75 different pop tunes – slammed together to tell the haunting poetry of Keeley Kristin.
My first stint composing for the robots in MAX/MSP. Xenakis, meet Ligeti, meet my new friend, MAX.