Volume 2:

These works were created independently of each other and don't really have a connecting thematic thread, but I have chosen them to create an "album narrative" which I so seriously miss in today's "single-track" society. Close your eyes, put some headphones on (or crank if you have a good system). If this does not appeal to you, I fully understand. But, I only ask you to have an open ear and an open mind when listening.

ALBUM TRACK DESCRIPTION:

- - - - -"Nature Papure"

(1984) originally for Voice and Tape, I dumped the voice-part and kept the tape. Musique Concrête, created with a tape machine that was on a long loop, the erase-head was disabled (thanks to my good friend Karl Fusaris), and the only source of sound was two wine-glasses being rubbed and clinked. Manipulating the loop/reel speeds during recording, as well as playing around with tape saturation is how I got the sounds you hear. This piece was later used in another work digitally (“We, the Ratatatats...”). In one movement, no score. [4'00]

- - - - -"Now be a good little rabbit"

Using samples of me singing "why don't we do it in the road?", and Connie Lafemina's sample, I also incorporate several of my own pieces in a mish-mash in the middle (using Joe Drew performing my Four in Stance on Trumpet).

- - - - -"Morgan Song" (v1)

A piece performed on the V-Synth using my voice as an initial sample. I manipulated the sample to work with longer amorphous textures. This work will probably end up for either strings or voices and strings.

- - - - -"RadioHeadSuiteDesign - Prelude"

(2004) Prelude sound designed from a Radiohead percussive snippet for a RadioHead suite, performed with LOOP2.4.3.

- - - - -"Deathmask Lullaby"

This piece was used in part in the "Papyrus Nugator: Father" work. I see this not unlike re-using a chord progression, or theme. It was not at the forefront. Here it is on its own. I am playing on an Indian Ritual Flute, and a Peruvian folk flute. It is put into a sampler, and "performed" via the sampler.

- - - - -"SpaceDance"

Commissioned by Alice Anne Harwood at the Neighborhood Music School, and premiered at Yale's Planetarium, I used actual sounds from space (mostly) and a few of my own, with some manipulations.

- - - - -"The Returning"

Trippy, intense, dense, wear headphones, turn it up, and close your eyes, let this take you somewhere for 13+ minutes. The sounds you hear come primarily from my old knob synth, sound designed through LIVE, and my V-synth with patches made from scratch (some using my voice as the source, which you can hear as some of the very low frequencies). The whole is pieced-together in LIVE. Its unruly, a bit dirty, punk in attitude, as well as strongly influenced by classical music (nod to Beethoven's punk attitude).