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Track 1: Electric Living
Though I generally steer away from the use of pre-recorded loops and samples, this particular piece is an exercise in sound collage. I took a number of samples of animals and people and manipulated, stretched, and processed them. I then arranged them into a sonic collage that served as a background for improvisation. The idea behind this was the notion that in our daily life, we are constantly immersed in an evolving soundtrack, and that only our awareness is required to transform the randomness of a city street into music. Terrence McKennna provides the quote toward the end that says "things ultimately analyzed are shown to be words." |
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Track 4: Nonesuch
"Nonesuch" is based on a traditional English folk tune which invokes Nature as the Goddess.
The traditional lyrics are as follows:
" And She shall bring the birds in spring,
And dance among the flowers,
In summer's heat Her kiss is sweet,
She sings in leafy bowers,
She cuts the grain and harvests the corn,
When the fruits of fall surround Her,
Her days grow old in winter's cold,
She draws Her cloak around her."
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Track 6: Lady of the Lake
The Lady of the Lake was, in mythology, the keeper of the Mysteries of Avalon. My friend Emily Breckheimer needed a piece of music for a performance she was doing that involved large flaming sculptures floating on the surface of a lake. I crafted this piece under her direction, trying to find the most watery sounds I could. It is in many ways, a devotional offering to the creative power of the water element. |
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Track 7: The Casting of Bones
This piece was used in a Surreal Sirkus show based on a reworking of the myth of Orpheus. In the show, Nut, goddess of the night sky, descends to the underworlds to bring her daughter Gaia back from death. In this particular scene, the court magician to Hades casts the bones to determine her fate. |
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Track 9: Vargansangen
This piece was created as part of a performance piece called Umbilicus about the experience of birth from the child's perspective. In composing the sound-track, I worked very closely with two friends, Elin Ohlsson and Muniyama who were having a baby at the time.The soundtrack used both parents' voices as well as a recording of the fetus' heart beat and the sound of blood passing through the umbilical cord. The piece begins with Elin singing a traditional Swedish lullaby to her unborn child. This sound gradually fades into the sonic environment of the intra-uterine microcosm. Both parents performed in the live production and their daughter Mena was born one week later.
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