For inverted snare drum, crotales, tuning forks, and audio looper, In Modifier Keys explores the extended sound world of a snare drum as a noise resonator with a 6-channel output. Commissioned as part of his Amplified Perception project, Al Cerulo performs this with piece with a ceremonial intensity.
Al Cerulo brings to life the wide dynamic range of a single cymbal equipped with a contact microphone and Mathew Rosenblum’s sixteenth-note world in “S.O.S. (Shiny Object Syndrome)”.
Al Cerulo performs Eve Beglarian’s electronic-assisted instrumental solo on glockenspiel accompanied by a simple 2:3 delay and a growing distortion crescendo.
Mantra Percussion performs the stunning scraping and scratching soundscape of Jenny Beck in a glitch-laden video featuring Al Cerulo & Joe Bergen.
Al Cerulo performs Paula Matthusen’s work for solo vibraphone and live electronics. Commissioned for his solo project, Amplified Perception, Cerulo controls resonator microphones and feedback transducers via a MAX/MSP patch in real time to a custom 6-channel output.
Performed and commissioned by Al Cerulo, Amplified Perception is an evening of new works for single solo percussion instruments with electronic enhancement featuring compositions by Eve Beglarian, Randy Gibson, Paula Matthusen, Mathew Rosenblum, and Jude Traxler.
Tempus Fugit reunites to record Brett Dietz’s seminal work, Sharpened Stick, on its 20th anniversary.
Tempus Fugit performs a movement Brett Dietz’s new quintet, With Age Comes, at the LSU percussion studio in Baton Rouge, Louisiana.
Based on a Feldman melody, Dead Resonance’s title track for their debut album, silence is not a transition, is a mobile of self-composed melodic fragments.
for solo piano
Neither / Either is stripped from my quintet, Math Metal Meth Mouth, verbatim.
Written for my good friend, Anne Rainwater.
quintet for four percussion and piano
Based on the breaking down of chemical compounds in the collective and individual.
Written for Dead Resonance and Anne Rainwater
Echo Artifact’s sophomore stint on the tension of wanting.
Greg Chudzik, Al Cerulo, Jude Traxler
Joe Moore pens a beautiful collection of Bible-referenced miniatures for percussion quartet. Performed by the composer’s own group, Dead Resonance.
I co-direct the Manhattan School of Music Percussion Ensemble with my partner in all crimes musical, Mike Perdue.
Chad Heiny’s work, Canon Fodder, was the first piece we tracked for Dead Resonance’s album, silence is not a transition. Fun times with a lot of drums.
Dead Resonance records Dietz’s Origin of Savagery – written for the group’s debut album, “silence is not a transition”.
Traxler Studios (NYC) mixed and mastered Timber LIVE @ the 2014 Bang on a Can Marathon, Winter Garden, NYC. Released with Michael Gordon’s Timber Remixed, an A-list of experimental electronic artists on Cantaloupe Records (2016).
Andy Meyerson “performs” my work, Structural Harm. Created at Traxler Studios (NYC), August 2015 for Slashsound Records.
Dead Resonance started as a remote composition project between Brett Dietz, Chad Heiny, Joe W. Moore III, and Jude Traxler. Fourfold is our “quadruple-music”.
CPU (a post-apocalyptic electronic opera for the end of the world, in one act.)
An original story told in fourteen songs.
We tracked great music by Jenny Olivia Johnson at Octaven Studios in Yonkers, NY for Innova Records.