Born of the simple premise of making a sound on the guitar and having it delayed rhythmically into each of a stereo pair of speakers respectively. As the piece develops, the delayed notes are pitch-shifted up or down to create by turns a harmonious or discordant accompaniment.
An electronically-conceived piece using only water-based sounds and guitar harmonics. Originally written as part of a multimedia collaboration called “Stream of Consciousness”, the stand-alone narrative is loosely one of water being processed in various ways, from pleasant and concordant manipulations to violent distortions, thus carrying allegorical implications for our interactions with this vital element.
This piece began as me playing “Michelle” by the Beatles, and then extending the descending “lament” bass line of the intro further down until it stretched way beyond the original (and thus is 2.5 times as lamentable). Jazzy reharmonizations allowed the piece to turn into essentially a jazz ballad, with a written out “improvisation” when the form repeats.
A play on the Spanish phrase “Alto en Azukar”, or sugar-high, and the Latin-American drink mix “Zuko”, at one point consumed in large quantities by the namesake of this piece.
Cymbalism explores the limitations of using only one type of sound source: cymbals. Pulseless, atmospheric material alternates with rhythmic sections of obsessive repetition and accumulation, perhaps evoking some sort of abstract, sonic ritual.