Impasse
I was given one minute to compose....something. Anything. And here it is.
Part of a wonderful compilation on AEMC Records.
Part of a wonderful compilation on AEMC Records.
The Platitudes of Immersion
My contribution to the 7th entry of Communal Music from AEMC Records.
The participating artists provide 2 original samples to a pool which is then distributed back to each other. We all work from that same pool to create pieces of music in our own style. Its always very interesting to hear what others come up with and how drastically different the approaches to the same source material can be.
The participating artists provide 2 original samples to a pool which is then distributed back to each other. We all work from that same pool to create pieces of music in our own style. Its always very interesting to hear what others come up with and how drastically different the approaches to the same source material can be.
Chosen Tiers
This morning's thought. [11.13.20]
Another moment spent in harmony with my universe. Part of an ongoing series of exploration - letting the subconscious become conscious - no rules, no pressure - just pure creative freedom.
Photo by James @binjogumbojimbo
Another moment spent in harmony with my universe. Part of an ongoing series of exploration - letting the subconscious become conscious - no rules, no pressure - just pure creative freedom.
Photo by James @binjogumbojimbo
Flies North
This morning's thought. [11.06.20]
This is part of an ongoing series where I've been really letting go and exploring whatever comes to mind. Letting the subconscious become conscious - no rules, no pressure - just pure creative freedom.
This is part of an ongoing series where I've been really letting go and exploring whatever comes to mind. Letting the subconscious become conscious - no rules, no pressure - just pure creative freedom.
Thereafter
Another morning thought. [11.01.20]
Divine Intricacy
This morning's thoughts. [10.29.20]
Imaginary Limitations [Open Plan] (ft. Mola)
While exploring subject of field recording, I stumbled upon Mola’s wonderful album, 'Flat B'. Stuck in quarantine, he decided to record the sounds around his home and assemble them together in different musical excursions. Listening was very relaxing. But it was the clarity of the recordings is that really got me. Every little detail and nuance of sound seemed to be captured. Looking to improve the quality of my own field recordings, I sent him an email with questions about the process. Chase wrote back almost immediately and a cool new internet friend from across the globe was made. He was kind enough to send me stems of one of the pieces off of Flat B, so I could play around with it. Here’s the result! A healthy mix of his field recordings, manipulated with additional instruments and my voice featured through out.
A Constellation of Similarities
I had just one more collection of modular experiments that I was planning to share in their rawest form. Just a random batch of improvised noise making sessions. I spent some time putting them together in sequence and listening to them as a whole, as an album. But then I started overlapping them, long fades in and out. The once separate pieces began dissolving into one another and a bigger tapestry took shape. But I was still hearing something else. Something bigger. So I added new layers, new melodies, new textures over everything. Then I split up the pieces again which in turn gave me full freedom to redevelop; taking simple improved experiments and creating full blown, intentional pieces of music.
Continuum Earth
Musical fragments from around the world gently augmented and sewn together.
When I stop and think about it, my mind is blown. I'm working with people from all over the planet. Fellow musicians from different countries, different ethnicities, different cultures, different lifestyles. Yet, somehow, we all connect through this concept of sharing samples; making radically different music from the same ingredients, then presenting together as a unified voice in the form of an album.
This track is exclusively available on a compilation album from AEMC Records. All proceeds from the album are going to Black Lives Matter Global Network.
When I stop and think about it, my mind is blown. I'm working with people from all over the planet. Fellow musicians from different countries, different ethnicities, different cultures, different lifestyles. Yet, somehow, we all connect through this concept of sharing samples; making radically different music from the same ingredients, then presenting together as a unified voice in the form of an album.
This track is exclusively available on a compilation album from AEMC Records. All proceeds from the album are going to Black Lives Matter Global Network.
Subtle Asymmetry For The Modern Age [October 22nd] (ft. Bayun The Cat)
A delicate balance of performance and textural instability.
Just when you think you can predict the next note, the key shifts way out into left field. Your brain is trying to convince you that it doesn't work, but your adventurous soul accepts it for what it is, a journey. Bayun The Cat's 'October 22nd is a truly beautiful piano improvisation unto itself.
When he approached me about creating a re-interpretation, I immediately said 'yes, I can do that!' I was honored to be asked to collaborate. However when I finally started a few weeks later, I froze - 'ohhh crap, how am I going to do this amazing piece justice??'
As usual, I didn't have a plan or preconceived notion. However, if there's anything that has defined my work as of late, its creative looping. So I started there. But it wasn't working. The loops sounded great, but I felt as though I was drifting miles off from what I liked most about the original piece, the performance. So preserving that became my number one goal.
It was suggested that I study Wabi-Sabi for inspiration - a Japanese aesthetic form, centered on recognizing beauty in the imperfect. There's a strong minimalist aspect to it as well, a philosophy I already deeply connect with. Combined, there's a sense of serenity - something I'm always striving for in my music. I decided the sonic canvas was going to represent these concepts somehow.
I had access to the raw midi data that made up the performance, so I used that to trigger my new favorite piano sound, a felt-piano-meets-aging-tape-machine instrument. I bounced and chopped the resulting audio. Then the fun really began, In an effort to maintain goal #1, I decided I'd always have the original performance at the forefront and run everything else in parallel to it. I zoomed in to the waveforms and started shifting around timing and pitch. I came up with some 400 tiny slices of audio, which I duplicated a few times, making slight alterations to each copy. I also converted these tiny slices into granular audio; an LFO scanning through stretched out fragments while continually advancing through time. Since I also wanted all of this parallel instability to be almost completely obliterated; buried in the background of the master track. I employed destructive eq and delay to become instruments unto themselves.
Mixing became a delicate balancing act between the pure chaos of the parallel tracks against the wandering spirit of the original performance. I wanted this percolating bed to take over only for a few milliseconds at a time, then disappearing into the twists and turns of the composition. I wanted my sonic destruction to become another player, performing in concert with the pianist, ultimately becoming equally beautiful and unpredictable.
Artwork by: Hervé Fournier (@meziriac)
Bayun The Cat
Just when you think you can predict the next note, the key shifts way out into left field. Your brain is trying to convince you that it doesn't work, but your adventurous soul accepts it for what it is, a journey. Bayun The Cat's 'October 22nd is a truly beautiful piano improvisation unto itself.
When he approached me about creating a re-interpretation, I immediately said 'yes, I can do that!' I was honored to be asked to collaborate. However when I finally started a few weeks later, I froze - 'ohhh crap, how am I going to do this amazing piece justice??'
As usual, I didn't have a plan or preconceived notion. However, if there's anything that has defined my work as of late, its creative looping. So I started there. But it wasn't working. The loops sounded great, but I felt as though I was drifting miles off from what I liked most about the original piece, the performance. So preserving that became my number one goal.
It was suggested that I study Wabi-Sabi for inspiration - a Japanese aesthetic form, centered on recognizing beauty in the imperfect. There's a strong minimalist aspect to it as well, a philosophy I already deeply connect with. Combined, there's a sense of serenity - something I'm always striving for in my music. I decided the sonic canvas was going to represent these concepts somehow.
I had access to the raw midi data that made up the performance, so I used that to trigger my new favorite piano sound, a felt-piano-meets-aging-tape-machine instrument. I bounced and chopped the resulting audio. Then the fun really began, In an effort to maintain goal #1, I decided I'd always have the original performance at the forefront and run everything else in parallel to it. I zoomed in to the waveforms and started shifting around timing and pitch. I came up with some 400 tiny slices of audio, which I duplicated a few times, making slight alterations to each copy. I also converted these tiny slices into granular audio; an LFO scanning through stretched out fragments while continually advancing through time. Since I also wanted all of this parallel instability to be almost completely obliterated; buried in the background of the master track. I employed destructive eq and delay to become instruments unto themselves.
Mixing became a delicate balancing act between the pure chaos of the parallel tracks against the wandering spirit of the original performance. I wanted this percolating bed to take over only for a few milliseconds at a time, then disappearing into the twists and turns of the composition. I wanted my sonic destruction to become another player, performing in concert with the pianist, ultimately becoming equally beautiful and unpredictable.
Artwork by: Hervé Fournier (@meziriac)
Bayun The Cat
Hollow Pursuits
Sometimes you just can’t ignore the quick and easy path. And sometimes there are many layers of complexity within that path, destroying the pre-conceived notion of ‘easy.’
I’m part of an online group called the Ambient and Experimental Music Community. Every couple of months a challenge is put forth to the group. Members submit 2-3 original samples, under two minutes in total length. All samples are gathered together and redistributed to all of the participants. Members then construct a piece of music, less than 8 minutes long, using ONLY the samples provided.
This time I let myself explore a slightly more traditional way of chopping samples, placing them directly onto the arrangement timeline. Of course I combined that ideology with my usual creation-of-custom-sampler-instruments approach. As usually with these things, I’m pleasantly surprised at the result this all led to and proud to share it with the rest of the listening planet!
I’m part of an online group called the Ambient and Experimental Music Community. Every couple of months a challenge is put forth to the group. Members submit 2-3 original samples, under two minutes in total length. All samples are gathered together and redistributed to all of the participants. Members then construct a piece of music, less than 8 minutes long, using ONLY the samples provided.
This time I let myself explore a slightly more traditional way of chopping samples, placing them directly onto the arrangement timeline. Of course I combined that ideology with my usual creation-of-custom-sampler-instruments approach. As usually with these things, I’m pleasantly surprised at the result this all led to and proud to share it with the rest of the listening planet!
Finer Points
Small sounds; exploded and expanded.
I’m part of an online group called the Ambient and Experimental Music Community. Every couple of months a challenge is put forth to the group. Members submit 3 original samples, under two minutes in total length. All samples are gathered together and redistributed to all of the participants. Members then construct a piece of music, less than 8 minutes long, using ONLY the samples provided.
It took a while for me to figure out what to do with this batch of samples. As is my usual process, I listened to each and every one, keeping my mind open to inspiration. I tried using them as is, putting them together like a jigsaw puzzle without a reference picture. Nothing seemed to be jiving. Finally, I started zooming in on parts of some samples, and then raising the pitch to an absurd degree. Suddenly, it all started to click. There are tiny little movements to be found in sounds when you kind of zoom in like that. Everything becomes sharp and twinkly within the finer points.
I’m part of an online group called the Ambient and Experimental Music Community. Every couple of months a challenge is put forth to the group. Members submit 3 original samples, under two minutes in total length. All samples are gathered together and redistributed to all of the participants. Members then construct a piece of music, less than 8 minutes long, using ONLY the samples provided.
It took a while for me to figure out what to do with this batch of samples. As is my usual process, I listened to each and every one, keeping my mind open to inspiration. I tried using them as is, putting them together like a jigsaw puzzle without a reference picture. Nothing seemed to be jiving. Finally, I started zooming in on parts of some samples, and then raising the pitch to an absurd degree. Suddenly, it all started to click. There are tiny little movements to be found in sounds when you kind of zoom in like that. Everything becomes sharp and twinkly within the finer points.
Now We Two (Ft. Fred Holland)
Music is truly a wonderful thing.
This piece is built around and inspired by my musical friend Fred Holland’s lovely composition, that he created from layers of sustained guitar ambiance. Fred had been experimenting with the concept on his own and sharing the results when I asked him to send me something specifically to mess around with. As usual, I had no real plan or idea.. Again, it always amazes me how the work evolves into its final state. My last project had me restricted to a specific group of samples for a few weeks. This time I was obviously tied to the one, and I even attempted to *only* use the one, but thankfully decided on adding some other instruments. Trumpet, strings and french horns make an appearance in addition to various chops and manipulations of Fred’s piece.
The video is my own work as well, continuing my experiments with simple light, movement, and texture. All with just a phone camera and free editing software.
As always, listen any which way you want, but I recommend headphones and a comfy chair.
This piece is built around and inspired by my musical friend Fred Holland’s lovely composition, that he created from layers of sustained guitar ambiance. Fred had been experimenting with the concept on his own and sharing the results when I asked him to send me something specifically to mess around with. As usual, I had no real plan or idea.. Again, it always amazes me how the work evolves into its final state. My last project had me restricted to a specific group of samples for a few weeks. This time I was obviously tied to the one, and I even attempted to *only* use the one, but thankfully decided on adding some other instruments. Trumpet, strings and french horns make an appearance in addition to various chops and manipulations of Fred’s piece.
The video is my own work as well, continuing my experiments with simple light, movement, and texture. All with just a phone camera and free editing software.
As always, listen any which way you want, but I recommend headphones and a comfy chair.
Inner Consciousness
The space within. Revelations of existence. A spiritual awakening.
I’m part of an online group called the Ambient and Experimental Music Community. Every couple of months a challenge is put forth to the group. Members submit 3 original samples, under two minutes in total length. All samples are gathered together and redistributed to all of the participants. Members then construct a piece of music, less than 8 minutes long, using ONLY the samples provided.
This time, I chose NOT to use every sample. Instead I went through all 50+ samples and locked on to the ones that really resonated with me. One in particular that struck me was a recording of an Eastern European choir singing an ancient hymn. Combined with some other ethereal sounding samples, like guitar and crotales, this piece came together. I’ve also been reading and thinking about 2001: A Space Odyssey, which concepts of existence and reality really propelled the vibe of the music. The video is my own work as well, yet another experiment. A photo Gray (@grayturel) took is buried in there as well. Enjoy any which way you please, but I do suggest headphones for this one!
I’m part of an online group called the Ambient and Experimental Music Community. Every couple of months a challenge is put forth to the group. Members submit 3 original samples, under two minutes in total length. All samples are gathered together and redistributed to all of the participants. Members then construct a piece of music, less than 8 minutes long, using ONLY the samples provided.
This time, I chose NOT to use every sample. Instead I went through all 50+ samples and locked on to the ones that really resonated with me. One in particular that struck me was a recording of an Eastern European choir singing an ancient hymn. Combined with some other ethereal sounding samples, like guitar and crotales, this piece came together. I’ve also been reading and thinking about 2001: A Space Odyssey, which concepts of existence and reality really propelled the vibe of the music. The video is my own work as well, yet another experiment. A photo Gray (@grayturel) took is buried in there as well. Enjoy any which way you please, but I do suggest headphones for this one!
Forest Through The Trees
A collection of abandoned works. The genesis of ideas. Fizzled out fragments. A flurry of inspiration lost. Destined to remain unfinished, yet somehow complete. All of these appeared 2017/18.
I’ve always struggled with finishing projects. Sometimes inspiration just fizzles out. Most of the time the material is interesting, maybe great even, but in the moment its difficult to see the forest through the trees.
This particular collection is a transition into deeper experimentation. I began exploring modular synthesis and melding those sounds with guitars and pianos. Sometimes in a melodic way and sometimes in an ambient fashion.
Artwork by: Gray Turel (@grayturel)
I’ve always struggled with finishing projects. Sometimes inspiration just fizzles out. Most of the time the material is interesting, maybe great even, but in the moment its difficult to see the forest through the trees.
This particular collection is a transition into deeper experimentation. I began exploring modular synthesis and melding those sounds with guitars and pianos. Sometimes in a melodic way and sometimes in an ambient fashion.
Artwork by: Gray Turel (@grayturel)
So Few, The Many
I'm part of online group called The Ambient and Experimental Music Community. Members submitted 3 original samples, under two minutes in total length. A total of 45 samples from 15 people were gathered and then redistributed to each of the participants. Members were to construct a piece of music less than 8 minutes long using ONLY the samples provided.
Definitely one of the most interesting projects i've been a part of. My initial challenge was attempting to digest all 45, radically different samples (rain, baby noises, drones, guitars, world instruments, etc). I ended up having to relabel and categorize the lot, so I could really see what I had. After trying a few approaches, I decided on centering the piece around a couple of the guitar samples. From there, it was 'just' a matter resampling and manipulating one sample at a time until it 'fit' within the context of the music. Some samples were turned into playable, tuned instruments, while others turned into white noise.
This piece is inspired not only by the samples provided, but my early morning rituals, which are centered around making music.
Artwork by: @yarkoman90
Definitely one of the most interesting projects i've been a part of. My initial challenge was attempting to digest all 45, radically different samples (rain, baby noises, drones, guitars, world instruments, etc). I ended up having to relabel and categorize the lot, so I could really see what I had. After trying a few approaches, I decided on centering the piece around a couple of the guitar samples. From there, it was 'just' a matter resampling and manipulating one sample at a time until it 'fit' within the context of the music. Some samples were turned into playable, tuned instruments, while others turned into white noise.
This piece is inspired not only by the samples provided, but my early morning rituals, which are centered around making music.
Artwork by: @yarkoman90
Adrift
Alone and lost at sea.
Inspired by these creative prompts:
Sailing alone on a stormy sea, radio inoperative, keeping an eye out for a break in the clouds and the hope of a safe harbor. (Jonathan Freedner)
Red sky at night sailors delight, red sky at morning sailors take warning. (Debora Johnson)
Inspired by these creative prompts:
Sailing alone on a stormy sea, radio inoperative, keeping an eye out for a break in the clouds and the hope of a safe harbor. (Jonathan Freedner)
Red sky at night sailors delight, red sky at morning sailors take warning. (Debora Johnson)
Lost In Forever
This series actually began as a happy accident. I had rearranged my small studio; finally brought my record player + LPs out of storage. In order to listen to them through my new speakers, I had to run the entire system through my computer, which meant I could also record the action on a whim. HaHA. Naturally, one day, I hit record while listening to an album. I ended up capturing this great little section of strings. Looping it endlessly triggered all my relaxation/curiosity buttons. Wanting to explore further, I ran it through my modular synth; altering the playback speed and pitch, the length of the loop, and filtering the sound in various ways. Multiply and layer all of that in a thoughtful way, viola - a beautiful ambient sound collage was born. I enjoyed the experience so much that I continued with a couple of more samples from the same album. Usually I don’t use someone else’s music in my work, so the limited number of pieces represents a test bed for using my own work as source material, applying the same manipulation techniques I discovered here.
I also wanted to share these pieces and decided it was a good time to experiment with video as well. I record a short video of motion, then distort and layer it similar to my musical approach.
Lost In Forever
Microcosm
Gracefulness Apart
I also wanted to share these pieces and decided it was a good time to experiment with video as well. I record a short video of motion, then distort and layer it similar to my musical approach.
Lost In Forever
Microcosm
Gracefulness Apart
Of Abstract
Space
I often need time and space to think. The problem is, my brain seems to always be moving at warp-speed. I find things seem to slow down when I put headphones on a listen to some great music. Particularly instrumental ambient music. The type that envelopes your auditory senses. It allows me to think more clearly, focusing my thoughts. The creative process allows my to marry the many thoughts I have with a singular result.
Time
Those of us who create music (especially if computers are involved) spend crazy amounts of time focused on determining a precise tempo and conforming instrument performances to that tempo. The right tempo can determine the entire feel of a song. The right tempo can create a wonderful involuntary movement within the listener, sinking them deeper into the hypnotic trance-like state. Even organically performed music - by a band or orchestra - follows a tempo. Instead of following a digitally generated click, a conductor’s body movements signal the path to follow. Tempo doesn’t have to be fixed rate for the duration of the piece, it can increase and decrease, sometimes gradually, sometimes abruptly. Coupled with changes in loudness and timbre, tempo change helps to further define the emotional center of a piece. Typically, what determines a great performance is how well the musicians follow all of these changes…together.
Randomness and Chance
Well, what if there was no tempo? What if instruments were played out of time or with no time in mind at all? What if multiple instruments were played ‘together’ without the structure of time? What is time? Ok, ok - kidding with that last question….
I find theres a degree of calmness that comes with unpredictability. Something about the purely unstable reveals….stability. This album is centered around that concept. Nothing seems to throw me into a deeper meditative state than a wall of sound without any predictable patterns.
Recording layers of performances without a specific time construct as a guide, is the main theme of this album. Often a piece would start with a single performance of guitar followed by subsequent layers of the same performance, except the original pass wouldn’t be referenced in headphones. Literally no guide, whatsoever. Texturally, layers would then be sliced, stretched, compressed, filtered and delayed, picking up where my last journey of an album (Early Sound Works) left off.
As always, these pieces were built to enjoy focused on, or unfocused on in the background.
Artwork by: @CortneyVamvakias
I often need time and space to think. The problem is, my brain seems to always be moving at warp-speed. I find things seem to slow down when I put headphones on a listen to some great music. Particularly instrumental ambient music. The type that envelopes your auditory senses. It allows me to think more clearly, focusing my thoughts. The creative process allows my to marry the many thoughts I have with a singular result.
Time
Those of us who create music (especially if computers are involved) spend crazy amounts of time focused on determining a precise tempo and conforming instrument performances to that tempo. The right tempo can determine the entire feel of a song. The right tempo can create a wonderful involuntary movement within the listener, sinking them deeper into the hypnotic trance-like state. Even organically performed music - by a band or orchestra - follows a tempo. Instead of following a digitally generated click, a conductor’s body movements signal the path to follow. Tempo doesn’t have to be fixed rate for the duration of the piece, it can increase and decrease, sometimes gradually, sometimes abruptly. Coupled with changes in loudness and timbre, tempo change helps to further define the emotional center of a piece. Typically, what determines a great performance is how well the musicians follow all of these changes…together.
Randomness and Chance
Well, what if there was no tempo? What if instruments were played out of time or with no time in mind at all? What if multiple instruments were played ‘together’ without the structure of time? What is time? Ok, ok - kidding with that last question….
I find theres a degree of calmness that comes with unpredictability. Something about the purely unstable reveals….stability. This album is centered around that concept. Nothing seems to throw me into a deeper meditative state than a wall of sound without any predictable patterns.
Recording layers of performances without a specific time construct as a guide, is the main theme of this album. Often a piece would start with a single performance of guitar followed by subsequent layers of the same performance, except the original pass wouldn’t be referenced in headphones. Literally no guide, whatsoever. Texturally, layers would then be sliced, stretched, compressed, filtered and delayed, picking up where my last journey of an album (Early Sound Works) left off.
As always, these pieces were built to enjoy focused on, or unfocused on in the background.
Artwork by: @CortneyVamvakias
Billions
This was a big experiment for me. I didn't really have a plan, other than to layer various instrument performances together in an ambient fashion. Equally interesting to listen to focused or in the background.
The process was pretty simple. I would write a melody and then record different instruments playing it, each layer usually delayed by a note or two. The results were pretty neat, ambient walls of sound.
Jesse was a huge help in the recording and playing process. And then of course Nicole, Drew and Pete threw down some excellent performances.
Very special thanks to Todd for allowing me time in the studio and mixing the resulting mess I created! And to Pat for making sure it was all listenable in the master ;)
The process was pretty simple. I would write a melody and then record different instruments playing it, each layer usually delayed by a note or two. The results were pretty neat, ambient walls of sound.
Jesse was a huge help in the recording and playing process. And then of course Nicole, Drew and Pete threw down some excellent performances.
Very special thanks to Todd for allowing me time in the studio and mixing the resulting mess I created! And to Pat for making sure it was all listenable in the master ;)