One year has passed since I finished and shared an EP, In Praise of Shadows.

I worked those songs into a ~30 minute live performance at the Living Gallery.

The primary sonic driver was built around the Hikari Monos — a semi-modular noise box that is capable of making some wild patterns and beautiful subtle textured loops, but it can be quite temperamental. In retrospect I think the performance hinges around my patience with this machine in a live setting.

The visuals were created in Jitter (Max/MSP) using a combination of photos of shadows from the collaboration between Boseo and I, and calligraphy from Theresa Hak Kyung Cha's Dictee.

Since the EP's release one year ago, my sonic palette and interest has continued to grow (sigh, where is the focus / discipline) to include noise and resonant drone-ish tones created using a combination of an electric guitar + e-bow.

I was inspired by Bob Bellerue; I saw a videos of him performing (as a part of his duo Eternities with Katie Porter) with some kind of harp laid flat, and he just set an e-bow down on one of the strings so it permanently resonated. I am struck when a musician approaches their instrument differently, perhaps after years of working with it one way, not just for the sake of doing it differently, but for its sonic qualities.

The context for the show: Boseo was in town from Berlin, and wanted to put together a small show for some of her new works which are stunning, and a sound work by Aysun.