an unofficial history of never

From the Start-ups show at Dance Exchange, a video of Ken Manheimer‘s piece An Unofficial History of Never. For until the official history comes out…

Video by Slingshot Video.


chance piano & prepared bass

Doubting All Things Aligned is a new collaborative project I’ve been working on this winter with Chris Lynn. The entire set will be released soon, but for now Chris has posted an alternate version of one of the tracks that will appear. “Rusted Boats in a Foggy Harbor, version 2” features Chris’s chance piano and field recordings, and my prepared bass.

classwar karaoke’s survey 0028

Classwar Karaoke Survey 0028 is now out, featuring an intriguing and eclectic collection of experimental sounds, including a preview of a gestural work for prepared double bass I recently composed and recorded. All music is released under Creative Commons license 3.0.

CWK has been releasing experimental music and short films since 2008; this collection, like its predecessors, is well worth checking out.

admirably restrained

“Prepared Chance,” a track featuring prepared double bass and field recordings from the Augmented Landscapes release, has been included in Playlist 95 of Alastair Wilson’s fine radio show Admirable Restraint from Sydney, Australia. As it happens, this is the final installment of the program. Admirable Restraint was a favorite around here and surely will be missed.

Admirable Restraint 95 can be downloaded here.

new release on zeromoon


augmentedlandscapescoverzeromoon has just released Augmented Landscapes, a collaboration featuring field recordings by Chris Lynn and sounds from my double bass, prepared double bass, and granular synthesizer.

From the liner notes:

Augmented Landscapes is a collaborative work melding acoustic and electronic sound elements with field recordings.

The acoustic element is provided by double bass and prepared double bass, played along a continuum of conventional and extended techniques. The electronic element, which consists in the granular synthesis of acoustic double bass performances, broadens the instrument’s sound palette to encompass varied and unconventional colorations.

When these elements are matched to the overheard sounds captured by these field recordings, a perspective emerges that is analogous to a hypothetical landscape augmented by a multiplication of dimensions both sonic and spatial. Points of reference shift as aural features constantly rearrange themselves in relation to each other, creating a series of gestalts in which figure and field alternate, blend and separate in varying combinations. Here familiar sounds mutate into something unfamiliar before becoming familiar once again.

Chris Lynn: field recordings and cover photo
Daniel Barbiero: double bass, prepared double bass, and granular synthesizer