Various forms of electroacoustic music (for lack of a better word) form one of the most important facets of my practice as a musician. My electronic work has been featured at concerts and festival, and on radio, both nationally and internationally.
My work, in general, tends to uses one or more instruments as a starting point and employs various degrees of electronic processing — either done with software or various other, often more primitive means. Sometimes in addition to, or instead of, instrumental sound sources, I use synthetic sounds or field recordings of various types
My most recent pieces, however have been far more instrumentally-oriented, using a large variety of different instruments (acoustic and electromechanical, and played by me only) and relying on alternative sounding techniques and acoustic types of processing instead of DSP. Terminal Burrowing, made in this way, was commissioned for the 2013 edition of Montréal’s AKOUSMA Festival, whereas another piece in this vein, Gardens, was funded by the Canadian Music Centre’s Toronto Emerging Composer award (2011) (made possible by Roger D. Moore and Michael Koerner). Both pieces blend textural abstraction, bold gestures, instrumental lyricism, and mysterious combinations thereof.
My first release, Rife for London, UK’s Entr’acte featured three works which blend the articulated movement of acousmatic music, the lushness of ambient music, the unconventional processing of noise and early electronic music and various elusive global influences.
Here some samples from Rife:
Artifacts (I) (2007)
Indices of Refraction (2005-11)
and you can listen to Outside, Summer Is Bursting At The Seams as part of Wire Magazine’s Office Ambience #334