hello, the leo weekly, a local newspaper, put together a playlist of halloween songs and i guess since a song of mine called has ‘bones’ in the title, it made the cut. ‘local bones’ is from a cd release that west main development put out a few years ago. read the article here: beasts, blood and bones: 8 haunted local songs.
The most chilling track, “Local Bones” feels like the moment in the nightmare when escape is not an option. A modular synthesizer spins a web of vibrations entangling the listener. The sound waves shift from low to high frequencies with a garble of notes that rattle inside your skull and cause disorientation. Imagine a blinking fluorescent light bulb in a strange hospital ward and the feeling of creep is complete.julie gross
hello, my friend mckinley at kaiju put together a little cropped out tribute weekend and it coincided with my fall break, so i am playing on saturday, october 5th at kaiju with sheri streeter, ouzelum, and hissing tiles. here is info on facebook. i’ll be trying some new ideas with a small setup. see you there 🙂
some news about releases soon hopefully.
i’ll be playing some little synth interludes before and between sets for my pals from wi who are on tour called daughters of st. crispin at kaiju on friday, august 30th. satellite twin and ritual/error are also playing. see you there.
i’m pleased to let you know that i’ll be performing a couple shows this summer after visiting a very special lake up north in wisconsin where my mother wanted her ashes spread.
i had hoped to have a new cd ready for release in time, but it wasn’t meant to be. more on that later. in the interest of contextualizing what i’m up to for these shows, my friends encouraged me to write a little blurb:
Over the past four years, I’ve been inspired by the movement of bird flocks to explore the relationship between chaos and order in nature. Once the musical environments have been developed, without any traditional sequenced patterns, the goal has been to react to that intentional volatility and explore the permutations of perceived order within the chaos.
There’s also an intent to deal with restraint as a reaction to the frequent excess in electronic music in a variety of ways. My reaction to the excess of sound means that about three-fourths of the set is comprised of a 2 second sample of 32 single cycle waveforms. The other quarter of raw sound is a handful of hi-hat samples and one kick drum sample. The restraint is also a reaction to the commodification and fetishization of gear within electronic music. This often leads to shallow exploration. Because of that I wanted to focus on a single complex, but compact, tool.