Equatorial sense is a contemplative, spacious track performed freely on rustic, acoustic instrumentation. It is the final track on the EP afternoon moon, to be released in early 2019 on Cerebral Audio. This early release of the final track is on Leaping Clear, an online journal of art, literature and contemplation.
Tides (released 2017 on Cerebral Audio) is an electronic drone/noise-scape album—dense, eerie, largely un-musical sounds.
The concept behind Tides was to highlight the continuity between noise and tonality, allowing the listener to experience their own liminal, mental space between interpreting sound as being ordered or disordered. I hoped to (in my listeners and in myself) provoke a questioning of what constituted meaningful order versus chaotic disorder.
I also wanted to draw listeners’ attention to the concrete particulars of sensory experience as opposed to the abstract interpretative experience often provoked by media such as language and music, which are often ordered in accord with readily quantifiable conventions. In exploring an axis of noise versus tonality, I hoped to explore the experiential interrelation (and lack thereof) between abstract, interpretive mental processes and immediate, perceptual ones.
Through the project as a whole, I hoped to explore how cognitive dissonance might be reduced by coupling mindful groundedness in perceptual experience with fluid, inquisitive, non-definitive approaches to abstract thought and interpretation.
friends parade (released 2018 on Cerebral Audio as part of an anthology) is a (mostly) conventional, jazz-influenced piece.
on why vandalism?, an online multimedia journal. This track was originally produced as part of Tides, but was cut for the sake of unity. Like tides, it is eerie, ambient, and non-tonal—a soundscape composed of manipulations of field recordings taken during a rainstorm in Vancouver, British Columbia.