Excerpts from Dietz’s collection of 15 intermediate mallet duets. Recorded at Louisiana State University.
Joe Moore pens a beautiful collection of Bible-referenced miniatures for percussion quartet. Performed by the composer’s own group, Dead Resonance.
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.
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.
Mantra Percussion and Ian Williams perform the world premiere of his electro-acoustic work, Public Transaction, on the 2015 Ecstatic Music Festival in NYC.
Al Cerulo and Jude Traxler play a workshop version of Mantra’s new work with composer / guitarist Ian Williams.
Joey Van Hassel performs Stuart Saunders Smith’s glockenspiel solo, On: Empty, for his album, Correlates (2014). Recorded, mixed and mastered at Traxler Studios (NYC) for Soundest Recordings.
Recorded, engineered, mixed and mastered at Traxler Studios (NYC) under the direction of PS51 music teacher, Katie Traxler.
Scratchtracks: The Music of Jude Traxler (2014)
Featuring Brett William Dietz with Chemorocket and futureCities
A six-piece suite (in progress) for solo keyboard and 6-channel playback where the end of one piece begins the next. All tunes are based on transcriptions of some of the most influential songs in my life from the pop idiom.
Luke Traxler and I had been building a dubstep metal band for the last few years. Imagine seeing your favorite DJs actually performing intricate, hard-hitting original jams, rather than simply hitting PLAY on their laptops. Check out this improv with an eclectic collection of samples from Jaco to Björk.
The Foundry Steel Pan Ensemble plays Andy Akiho’s “Alloy” in a warehouse in downtown Los Angeles. We were in town for a performance with the LA Philharmonic as part of the Green Umbrella Series.
Based on 21 chords, the Black Brave Ocean evolved into 5 installations – individual compositions that are, ostensibly, bad copies of bad copies, creating structural and tonal variations that eventually collapse into a series of theatrical 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. Check out the overhead cam from the studio recording with Dustin Cicero at Manhattan School of Music in 2010.
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 electro-acoustic drumming and an iPod on shuffle.