Glitch Numbers (Mix)

A couple years ago my friend Justin (since1902) played a song from Ryoji Ikeda’s 2008 album Test Pattern, which he described as a palette-cleanser for the ears. And so began my fondness for glitch music, particularly after encountering the collaborations between Alva Noto and Ryuichi Sakamoto (starting with their debut collaborative album Vrioon), where static, beeps, and other simple electronic noises one might usually work to avoid provide a growingly-complex rhythmic accompaniment to minimalist piano. I sought to do something similar with a small assortment of music across a few genres.

Here’s the track list:

  • Numbers Stations by Gen Thalz
  • All Farewells Are Sudden by A Winged Victory for the Sullen
  • We Are All Made of Stars by Moby
  • Circus by Melanie Laurent
  • Test Pattern #1111 by Ryoji Ikeda
  • Fjögur píanó by Sigur Rós
  • U_07 by Alva Noto
  • Mur by Alva Noto & Ryuichi Sakamoto
  • Uno by Ludovico Einaudi
  • Essence by Gen Thalz
  • Clouds by Hiroshi Yoshimura
  • Part V (Electric Piano) by Nils Frahm
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Poem for the Unknown Soldier

This is a short improvisation at the electric piano I recorded shortly after By the Birds. It draws its title from my grandmother’s favorite poem, The Unknown Soldier by Billy Rose.

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By the Birds

After spending a couple weeks in a creative rut, I came across a simple melody on the piano but couldn’t decide whether to develop it at the acoustical piano or the electric , so I opted to try playing it at both. This piece was originally conceived as something that could be played by one person from beginning to end, but technical problems demanded multitrack recording, so I decided to make the most of the opportunity and include parts that require either two performers or multiple recordings. I’m hoping to adapt the piece for a single performance in the near future, and also expand the introductory piano into a piece of its own for solo piano.

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Harbor Boulevard

I’ve collaborated with Charlie Passarell several times before, but Harbor Boulevard is our first collection under The Pure Products and includes Tony Passarell on the synthesizer and clarinet.

Harbor Boulevard’s four tracks are best described as free jazz, with Charlie playing drums and myself on keyboard.

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Noyes Music

I spent the last month living near a street called Noyes, where life has a tendency to unfold in pleasant terms. I lived in a house of kind creatives, all of whom were musicians, with the exception of one kind and talented writer who lived above me. The success of any artistic pursuit is grounded in dedication to practicing the craft, so living in a community that’s always intentional about continuing to develop their work creates a sort of feedback loop of impetus to continue on one’s own.

This is a collection of work from that period. Six of the seven pieces were recorded in June while the remaining recording, You Got the Love I Need, was finished in late May, shortly before returning to Sacramento for a brief period (where I recorded Home Recordings). Other than You Got the Love I Need, the music is presented in chronological order.

Notes

Sharp Focus makes use of a stereo delay on the keyboard.

Pulled by the Collar draws its title from a poem I posted here a few weeks ago, Feeling Blue in San Francisco.

Long Distance and Active Step are played with Charlie Passarell, a close friend of mine who I’ve collaborated with before in Songs from Sacramento (Faithful, Parcel and Jazz Duet) and Home Recordings (Percussion Instruments). The drum tracks in these two songs were recorded in Sacramento and are from the same session as the drum track in Percussion Instruments. Long Distance in particular stands out for Charlie’s drum solo, bookended by my playing the keyboard.

Elevated Tracks is an improvisation from around 5 in the morning, just as the Purple Line begins running in Evanston. My house was situated such that I could watch the train pass from the vantage point of my keyboard, which occupied my vision when I played this.

You Got the Love I Need is a remix of a 45 I found at a closing record store in Sacramento and manipulated largely through physical and analog means, and is accompanied briefly by a synthesizer.

So Long, 2211 was played on a drum machine with synthesizer accompaniment.

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Active Step (ft. Charlie Passarell)

This is yet another collaboration between Charlie Passarell and myself, playing the drums and electric keyboard, respectively.

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Long Distance (ft. Charlie Passarell)

Long Distance is my fifth collaboration with Charlie (a close friend I met in high school) and once again includes Charlie’s drumming. It’s also the first time I accompany with an electric piano.

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