This month’s podcast has more modular synths! courtesy of Campfire’s Edge.
Our collaboration produced some super-spacy, soundscapes – they have a sci-fi flavor that I really like, and hopefully you will too (mmm… sci-fi….).
Campfire’s Edge at work.
If you want to hear more from Campfire’s Edge, I highly recommend that you check out his EP, The Last Lighthouse. Its a beautifully textured collection of electronic compositions sure to please any fan of this podcast.
This month’s podcast is a return to some more mellow soundscapes. Taken from a couple of solo performances in May 2017 at the Howland Cultural Center. Listen quietly in a dark room for maximum effect.
This month’s podcast is from two sessions with composer/percussionist Peter Fagiola.
The first part is some real deep ambient we recorded in my studio. The last part is a recording from a performance at Newburgh Open Movement and features Peter on marimba(!)
This month’s podcast was recorded at a Newburgh Open Movement performance on New Years Eve 2016 and features the always inspiring Dean Sharp. This is Dean’s third appearance on the podcast (clearly I like playing with the guy!), each time has been in a differentcontext.
And this podcast is also a little different, as the music was meant to provide an atmosphere in which people could move and dance, and our performance was a sort of collaboration with the movers and dancers.
This first podcast of 2017 is from a December 2016 performance at Vassar College’s Frances Lehman Loeb Art Center. Its a pretty mellow one, which seems like a good way to start a new year.
This was my second performance at the Lehman Loeb (see ES podcast #16). Its a space I really enjoy playing in, with nice sounding rooms and some fantastic art. This time I was situated near a couple of Alexander Calder mobiles and I think their epicyclical motion had an influence on the music.
This month’s podcast was recorded at the Cocoon Theatre’s Beckett Festival which took place over two weekends in November, 2016. The title, There is no nothing, is from one of the plays performed, A Piece of a Monologue. Also performed were Not I and The Old Tune.
I played before each performance from the rear balcony of the theatre to establish mood for the audience. This podcast is taken from those pre-show performances. With that in mind, this one is best experienced at low volume in a low light environment.
This month’s podcast was recorded during Beacon Open Studios on May 22, 2016. It’s super mellow, and may cause extreme drowsiness if listener is horizontal. Do not listen while operating heavy machinery.
This months podcast is from a couple of performances I did at art openings this summer.
The first half is taken from an opening in July at Gallery 66 in Cold Spring, NY of paintings by Stephen Rose. The second half is from an opening of a show by the Beacon Photography Group in August at the First Presbyterian Church in Beacon, NY.
This one is compiled from two summer 2016 performances. The first part is from a Knit In Public Day event at St. Andrews church in Beacon, NY. The second half (starts at 30:18) is from a Music About Art performance I did at the Frances Lehman Loeb Art Center on the Vassar College campus in Poughkeepsie, NY.
Music About Art at The Lehman Loeb. (photos Ophra Wolf)
This month’s podcast is from my first Music About Art performance at the Howland Cultural Center in May 2016. I play at a lot of art openings, which tend to be rather crowded, noisy affairs where my music becomes very much a background element. While I really enjoy playing openings, I wanted to explore the idea of how soundscapes can affect how art is experienced in a more contemplative setting, thus the Music About Art concept was born. As always, the soundscapes are inspired by both the art and the space it occupies. Here is some of the art that was on exhibit:
Clockwise from top left: Paper Dots – Leigh Williams, Suspension – Hiro Ichikawa, Empty Void 05 – Jayoung Yoon, The Hole – EDA
BONUS! here’s some video of the performance shot by Thom Joyce
This month’s podcast was recorded at a 
This was my second performance at the Lehman Loeb (see 
