After Reality (12 miniatures)
Carefully sculpted atmospheres, a tiny sampling of a larger worlds. Each of the 12 pieces play in sequence along with photographs (Joyce Graves).
A curious journey; best with headphones. Derived entirely from the bowed spring reverb instrument prototype built by Jay Kreimer, Melodyne and other tools revealed metallic insect choirs, low-flying ghost airplanes and other curiosities.
Stations of Time
A project that arose from the Invisible Cities with Bryan Day and Jennifer Wilsey, a surprising tribute to radio time signal stations that used to help us tell time.
The Rain Shadow
In three movements, the expansive feeling of forces much too large to comprehend. Sculpted meticulously over the course of four months, beginning shortly after lockdown in April 2020.
Channeling the ancient Japanese practice of joining together broken pottery: six new sound sculptures from recording studio fragments, 1976-2019.
the spaces between
the spaces between is a series of 12 immersive recordings created in April 2019 while in residence at the Lucid Art Foundation (Inverness, California). They were realized in the studio of Gordon Onslow Ford, a painter who spanned numerous art movements and pioneered new concepts exploring inner worlds. Attributions for this album are here.
Numinous premiered December 21, 2019 for the closing of Peter de Swart’s exhibition by the same title at the Lucid Art Foundation gallery. It’s slowly evolving textures instill a progression of emotions; this is the result of subtle shifts in musical modes originally “discovered” a thousand years ago. Much of the sustained ambience is derived from a recording of Jay Kreimer playing an instrument he built that uses a cello bow, two strings and a metal tape measure.
20th Century Tape
This body of exotic electronics emerged from reel-to-reel tapes originally recorded at a synthesizer studio in Lincoln, Nebraska from 1976 to 1980. A video of one piece performed live in 2017 (Fear of Tar) can be found here.
Emergent Frost Variations
New pieces that weren’t a part of a larger theme were drafted, intermittently revised and then finished over the course of six years: subtle sonic explorations realized using a variety of sources and methodologies.