The Inkling

My new composition, The Inkling, appears on the District of Noise Vol. 7 Compilation of Experimental Music from Washington DC. I played my cello in an outside parking garage near the Potomac river and later added the sounds of small motors and some closely recorded indoor cello sounds to complete the collage. The juxtaposition of different spaces/rooms/environments is a theme in many of my solo works. Listen here.


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Sonic Circuits Festival 2014

I played my Califone turntable (pictured below) as part of STYLUS BLK ARKESTRA
at Pyramid Atlantic as part of the 2014 Sonic Circuits Festival.                                         Listen to the complete set here.


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Silent Barn

Large Glass Bead Game played at the Silent Barn in Brooklyn NY on 26 Sept 2014.


Listen to an excerpt here.


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Amplified Cello

cello4I’ve started to work with amplified cello. In addition to a normal cello pickup thru effect boxes, I have a contact mic clipped to a piece of cardboard which is attached to the bridge with a clothespin. Also a metal saw blade is attached to the bridge. The debut will be this weekend when Lab Mice performs at Pyramid Atlantic.

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NVS Trio

trio01NVS Trio recorded at Last Resort Studio on 26 July 2014. Hear a demo here.

Dan Barbiero – double bass, preparations
Jeff Surak – zither, objects
Gary Rouzer – cello, preparations

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Large Glass Bead Game

Rich and I will be playing in Brooklyn on Friday September 26, 2014 at the Experi-MENTAL Festival, NYC. Listen to a track here. Festival details are here.

AMPTEXTGary and Rich met in the late 70s playing prog/fusion in Washington DC. Their current project, Large Glass Bead Game, combines objective strings and percussion in experimentation. Inspiration comes from life, nature, art, music, silence, and the ether.

Rich O’Meara – drums, metals, objects
Gary Rouzer – cello, cardboard, objects


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Missing Silence

The last few years I’ve been attending a few Classical concerts again in addition to my usual fare of experimental/noise shows. At a concert last Sunday the small, but enthusiastic, audience clapped after every movement of the two pieces on the program (Mozart and Dvorak) instead of waiting until the very end of each piece to applaud. At first I didn’t mind. The musicians all smiled at us, and at each other, subtly rolling their eyes, and must have wondered “will this happen after the next movement too?” It did. But I soon I realized that I missed the silences that are usually present. To listen to the sound of a space, a room, the air, and the outside noises, as framed by the concert experience (4’33”), is lovely. I was denied this “music” because of the applause. I was not upset, it was just interesting to notice how my feeling about the applause changed from amusement to longing. This was a small part of a wonderful concert!

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