working with suzu enns last week at LMCML
saturday june 21st in MONTREAL - for the final concert after (what has so far been) an amazing and special week at LMCML 2014, i’m so excited to say the excellent and v rad Suzu Enns will be premiering the first movement of a new piece i wrote for clarinet, wind controller, and VST interface called “CONVERSION MUSIC.”
the first movement is called “AN UPDATE IS NOW AVAILABLE” and touches on thematic narratives of digital habit, the impracticality of the physical, and expressions of passive helplessness observed in a landscape of technologically plotted fate.
pls come say hi if you make it. i will be wearing an oversized jean dress from penningtons xx
i’ve been working on a tricked out score for a new kara crabb play called “ROYAL JELLY.”
ROYAL JELLY is a modern rework of the Greek tragedy Medea. It is about three polygamous wives of the hyper surveillance future who savagely and absurdly destroy their chances at genetic legacy in the wake of their husband’s death, opting instead for a memetic route of evolution.
it will be running at the arts court theatre in Ottawa for 7 performances between June 22 and 28.
the score contains menacing MIDI renaissance electro sarabandes and haunting duduk drones that taunt and hocket in counterpoint to polyphonically processed bells. i’ll also be playing a wind controller, which is basically a virtual kenny G sax that is powered via USB.
hope 2 see you there.
tickets/info/etc available HERE: http://www.royaljellyplay.com/
talked about something i’m working on with LXV (aka the real traplord aka spalord aka candelabro aka louis vuitton). his name will probably change by tomorrow, sooooo good luck finding him on the internet.
"Her current project, a collaboration with New Jersey-based experimental electronic musician/internet archivist LVX, centres on themes of disembodiment and digitalized aggression.
“We began to explore disembodied violence and virtual reality, and realized these forms of aggression don’t really involve blood at all,” she says. “We wanted to design, from scratch, a soundscape for the distinct pleasure and ecstasy that lies in this safe nook of disembodied experience.”
you can read the whole interview here.
A POINTLESS STORY
Kara came over to my apartment before going to meet the neurobiologist I had a crush on. She had just finished teaching piano lessons and upon her arrival, for some reason, unloaded two coconuts from her backpack. “We have to figure out how to open these,” she said. “What should we use? Hammer? Knife?”