Decibel plays WB at MRC!

On Friday, May 3, 2019, as part of the Metropolis New Music Festival, at the Melbourne Recital Centre, the new music group Decibel gave a concert of music they've commissioned from Victorian composers over the past 10 years. As part of this event, they played my piece from 2009, "Another Noisy Lullaby," for instruments and prerecorded soundtracks.  ABC Classic FM was there, and recorded it, and you can hear the whole concert at  My piece is the first on the program, but you should listen to the whole thing, which also includes pieces by Sam Dunscombe, Brigid Burke, Cat Hope, Marco Fusinato, James Rushford, Carmen Chan Schoenborn, and Thembi Soddell.  Many thanks to Cat Hope, Lindsay Vickery, Louise Devenish, Stuart James, Aaron Wyatt and Tristen Parr for a wonderful performance and for, in fact, reviving the work all these years later.  I enjoyed hearing the work again, after all this time.


Two new reviews in Soundbytes, and an article in Xenharmonikon

Kraig Grady and Terumi Narushima are reviving Xenharmonikon, an informal journal of microtonality, now on the web.  I have an article in it, which describes Antonio Tuzzi's and Andrew Belt's modules for making microtonal control possible in the free VCV Rack environment.  You can download the article HERE.

Also, in the current issue of, I have 2 articles, reviewing three new softwares.

First, in Music for Tablets, there is a review of Beatformer, a sound-shaping program, and Fingerlab's SK-51, an emulation of the old Casio SK1 and SK5 microsamplers from the 80s.

Then there's a review of Pendle Poucher's new amazing sample set, Cloud Viola 2.  The central portion of this instrument is the sound of a viola bowed by 10 meters of green garden twine.  Quite a wonderfully rough sound, that is further roughened by granulation and extensive reverberation.  It has to be heard to be believed.  Here's my review:


Picnic Table at Chance Cove - a new work, with explanatory paper


From Google Maps, the above is a picture of a Picnic Table at Chance Cove, Newfoundland.  Which is the title of a new ten-minute piece, that you can download HERE.  The piece is made with sounds of metal poles at Box Hill Institute, my place of employment.  These pole sounds are sequenced with Nicolas Fournel's AudioPaint program.  For a more comprehensive explanation of how the piece was made, just click HERE.

Best through headphones, I think.  Enjoy.


Improvisation for Jeremy Yeo 27 March 2019 Box Hill Institute

Jeremy Yeo is planning to put on a music/multimedia recital on 6 August 2019 at the Esplanade Recital Studio in Singapore.  He asked for a bunch of us at Box Hill Institute, from which he just graduated with his Master's Degree (congratulations Jeremy!) to make video improvisations that he could incorporate into his recital.  Jeremy was just back at Box Hill, so on March 27, he videoed me improvising on iPad and iPhone in a classroom at Box Hill.  The software on the iPad Pro is Gestrument Pro controlling the Synclavier Go app.  There are 5 voices on the Synclavier, 3 sustained and two short and percussive.  The sustained voices are in 17, 18 and 19 tones per octave tuning, the percussive sounds are in 16 and 15 tones per octave.  The iPhone6 has Gestrument Pro controlling the Fingerlab SK-51, a recreation of the old Casio SK5 sampler.  The samples on the SK-51 are extended vocal sounds I improvised.  The iPad Pro is being played through the classroom sound system.  The iPhone6 is being played through the 2 mighty Marshall mini-Stacks.  If you're lucky enough to be in Singapore on August 6, you can see this video, and many others, in combination with Jeremy's live playing.  If you can't be there, you can at least enjoy this video on its own.


Symposium on Kenneth Gaburo from 2010 is now on the web

Waaaay back in 2010, Nate Wolley organized a symposium on Kenneth Gaburo's work that took place at Issue Project Room in Brooklyn.  The participants were Nate, David Dunn, Larry Polansky, Chris Mann and me - via Skype.  Many years later, in 2017, the symposium was transcribed and put up on the web on the Wolf Notes website.  I just discovered that it's there, so I'm passing on the URL.  It's interesting reading, all these years later.  Chris is, of course, no longer with us, so it's interesting to read his comments, and to feel his presence through his language (he'd have something to say about that, I'm sure) (probably the Satie quote about anyone who's interested in his music after his death is a necrophiliac...).  For Gaburo scholars, or the curious, here it is: