This month’s podcast is from a recent performance at an art opening (Don’t Go In There!). It uses parts of my preparation for the show and material from the actual performance, and is as much sound design as music.
It could be the perfect ominous ambiance for your halloweenining. (you might want to have a spare pair of pants…)
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This month’s podcast draws from three solo performances from summer 2025.*
Two are solo guitar performances, with an electronic set sandwiched in between.
I’ve been experimenting with incorporating field recordings into my performances, as an additional texture source. I’m especially into hydrophone sounds these days, which are very otherworldly (thanks to David Rothenberg for introducing me to the secret sounds of ponds!)
*sources: 1) 8/28/25 @ Untouchable Newburgh, NY 2) 7/2/25 @ Quinn’s Beacon, NY 3) 9/6/25 House Show Beacon, NY
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This month’s podcast features the electronic tonalities of Modular Moose.
My friend the Moose was in the area for the summer doing an internship, so we had the opportunity to record, play some shows and see some music. This podcast explores some rich drone textures and gets v e r y s p a c e y.
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This month’s podcast features Bob Lukomski. Its a binaural recording made along the River to Ridge Trail in New Paltz, NY.
We made strange sounds, fairly quietly, outdoors using small amplifiers. You can hear the sounds of birds and the occasional vehicle in the background. The binaural mic was about five feet away from us.
Bob used a couple of granular synths (Sonicware and 1010Music) to live process what was happening around us, including the noises I made on my synthesizer (BugBrand WOM Pro into Korg NTS-3 Kaoss Pad).
I recommend listening to this one at a fairly low volume; try to blend it in with your environment for best effect. Its meant to be a sort of gentle noise percolating in the background…
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This month’s podcast is a study in contrasts. It features two recent performances, one outdoors during the day, the other indoors at night.
The first part was at Great (Big) Pond, organized by the good folks at Stretch Metal. As the name implies it took place by a pond on a pleasant Sunday afternoon in June. I played baritone guitar, and incorporated field recordings of nature and the underwater sounds of ponds.
The second part was recorded in the evening at the Lace Mill in Kingston, NY. Its all synthesizers and electronics, representative of the dronier side of my sonic explorations.
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This month’s podcast features experimental flutist/composer Jane Rigler.
Jane recently moved to the Hudson Valley, and its been fun exploring a new sonic vernacular with her.
Its always interesting collaborating with acoustic instruments, and Jane spices things up by processing her flute (and voice) through her laptop. (It gets very spatial, headphones recommended!)
I used parts from a studio session and a live performance to make this podcast.
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This month’s podcast features two solo guitar performances from a night and day in Philadelphia.
The first was recorded on the evening of March 29, 2024 at the Rotunda as part of the Event Horizon series.
Then the next morning I performed at Thunderbird Hall as part of the Chilladelphia series.
Both performances were explorations on the language of sound…
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This month’s podcast marks a decade of Errant Space podcasting!
I’ve dug into the archives and found some rare or unreleased bonus tracks to celebrate.
It begins with a piece for piano and percussion by Peter Fagiola that features some guitar atmospherics by me (Craig).
Next some recordings made with David Rothenberg at his Bee Street studio (that’s what I call it. May not be its actual name.) David plays clarinets and synthesizers, I’m playing guitar.
Then we have a dub experiment with Bastian Void (modular synths). I put on my Errant Bass hat for this one.
That’s followed by a remotely recorded collabo with the incomparable Walter Wright on drums. It gets rowdy!
After that a duo recorded at Neil Alexander’s studio where he experimented with live processing grand piano, in preparation for the 100th ES podcast performance.
And we conclude with a piece I composed for artist Kathleen Anderson’s project Tuning Score for the Nervous System.
What a decade it has been! Thank you for listening (if you have been).
Its mid-winter here in the Northeast US.
This month’s podcast is a series of solo guitar improvisations; contemplating winterness, and exploring the language of sound.
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This month’s podcast is a behind the scenes peek into how I prepare for a show.
For a solo electronic performance I need to devise a system to improvise with that will produce (manageable?) unexpected results that I can respond to. (When improvising with other musicians, this takes care of itself.) In this case I had in mind creating a fairly minimal, droney, textural soundscape so used the Strega, which is excellent for drones and the Wingie2/Blippoo Box which is a great source of randomness. I also incorporated some field recordings for additional texture (played on a Kaoss pad), and harmonica to add an element of breath. Everything could be sent to an Eccos delay in sound on sound mode via an effects send to create slowly evolving/dissolving loops.
There are three improvisations presented here, the first two are me exploring strategies for the performance in my studio and the third is the final live performance recorded at Greenkill in Kingston, NY on January 13, 2025.
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