Here you'll find some representative work in sound. To go deeper, please visit my SoundCloud profile. Also, some recent work is only available in video form, for the time being.
The Exchange
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Here, finally, is the definitive audio. The piece is a short memoir that I then gave teeth through various nefarious technological means.
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"Problems of Abundance"
I wrote this song in anticipation of my son Max's birth, back when we lived in a studio apartment and all of my microphones were in storage. The initial recording featured me singing into my laptop from the shower. After we moved to the posh suburbs I was able to revisit a few things.
I wrote this song in anticipation of my son Max's birth, back when we lived in a studio apartment and all of my microphones were in storage. The initial recording featured me singing into my laptop from the shower. After we moved to the posh suburbs I was able to revisit a few things.
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Polybot
Here's the premiere performance of Polybot (percussion quartet) by students in the 2010 So Percussion Summer Institute. The photo shows the setup: it's basically two drum kits built off of a single bass drum with pedals on both heads. There's also video of a nice performance by Joseph Gramley's students at the University of Michigan on my video page. |
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"Petticelle" and "Linguine"
These pieces experiment with using speech rhythm to dictate musical events. The text is my own and comes from a much larger narrative.
These pieces experiment with using speech rhythm to dictate musical events. The text is my own and comes from a much larger narrative.
Fall Down Five Times Get Up Six
The recording below is a live performance of my most recent solo piano piece.
The recording below is a live performance of my most recent solo piano piece.
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Octobot
Here's the premiere of my first percussion quartet and the initiating piece in the "Bot" series. So Percussion gives this performance at Princeton University. |
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The New Austerity
I made this record as a document of my then-new (2006) performance setup, stripped of samplers and sequencers and the like and relying only on drums on the left, keys on the right. I played full takes and used the best two on top of each other to make the recording, with Alex Kass at Princeton. Here are a few tracks. |
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Music for War
This self-released EP represents a difficult time, waiting for my brother to return from deployments to Iraq and feeling as though I was going crazy whenever I turned on the news. I'm playing keys, drum kit, and sampler, triggering sequences on an old Alesis MMT-8, and sing-shouting. The first two tracks I recorded in X27's brooklyn practice space, while the last one is from a free103.9 radio broadcast of a live performance that I subsequently tweaked. |
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Music for Girls
These are ostensibly in the love/breakup song genre, but you can see other concerns starting to bleed through. I made this EP in my apartment in Queens in 2004, though I did record my dad's piano over a Connecticut weekend away from the city. "+" features my first ever, and likely only, guitar solo. |
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Diamorphosis
This collaboration with Dr. John Psarouthakis is the direct result of waiting tables. Long story.
This collaboration with Dr. John Psarouthakis is the direct result of waiting tables. Long story.
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Noise
I made this album in Ann Arbor in 2001, recorded in my apartment with an upright piano, an acoustic guitar, a synthesizer, brushes on newspaper, mallets on notebook paper, claps, knee slaps, chest beating, and my spoken and sung voice. In a moment of extreme grandiosity I decided to make a thousand copies, so contact me if you want one. |
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"Music for Strings and Interference" and Music to Accompany Revolution
One of these pieces is a kind of aggressive wrecking of the other. Listening to the Berkshire Symphony's recorded performance of my Music to Accompany Revolution, I was drawn to all of the imperfections: coughs, programs rustling, that sort of thing. I started to imagine what it would be like if I amplified these interruptions, made them huge. "Music for Strings and Interference" is the compositional end result of that thought process.
One of these pieces is a kind of aggressive wrecking of the other. Listening to the Berkshire Symphony's recorded performance of my Music to Accompany Revolution, I was drawn to all of the imperfections: coughs, programs rustling, that sort of thing. I started to imagine what it would be like if I amplified these interruptions, made them huge. "Music for Strings and Interference" is the compositional end result of that thought process.
