New Solo Record Coming Soon…

Produced by Shahzad Ismaily (Neil Young, Lou Reed, Patti Smith)

Guest Appearences from Kyp Malone (TV on the Radio) + Jolie Holland

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Self Titled EP

Haunted ambient soundscapes mix with reinterpretations of lost american roots music for an evocative and mysterious album that explores the history of recording. Featuring Ches Smith (Xiu Xiu, Ceramic Dog, Iggy Pop) and Kato Hideki (Death Ambient)

Special limited pressing of  hand packaged + numbered discs. SOLD OUT.

LISTEN: Fumbles In The Dark

LISTEN: Your Voice, A Seed in the Wind

Lucky Dragons with Grey Gersten + Ches Smith

(((((((West Coast / East Coast Pow Wow )))))))

Lucky Dragons are about the birthing of new and temporary creatures–equal-power situations in which audience members cooperate amongst themselves, building up fragile networks held together by such light things as skin contact, unfamiliar language, temporary logic, the spirit of celebration, and things that work but you don’t know why. For this special show Grey Gersten + Ches Smith contributed additional live instruments to the mix.

WATCH: VIDEO

LISTEN: Damascus

STREAM: THE ENTIRE SHOW

Photograph + Recording by Scott Friedlander

Tribute to Marc Ribot

Grey Gersten + Billy Martin celebrated Marc Ribot’s 55th birthday by playing in a tribute concert

WATCH: HERE

Grey Gersten / G. Lucas Crane invade WFMU

In the midst of his curated month of shows at NYC’s experimental performance venue The Stone, Grey Gersten (guitar, homemade electronics) brings Woods/Non-Horse pal G. Lucas Crane (tapes, broken equipment) down to WFMU for a improvised low-fi blowout.

LISTEN: Gentlemen

LISTEN: Verse/Chorus/Verse

STREAM: WFMU Broadcast

Scary Movie Soundtrack (2008)

The Scary Movie (Peggy Ahwesh, 1993)

This piece was originally composed for Warm Objects ( Ahwesh, 2008) but wound up in a new version of The Scary Movie (Ahwesh, 1993/2009) featured on the dvd release of Wendy and Lucy (Kelly Reichardt)

LISTEN:  The Scary Movie Soundtrack

Forever Versions (2007)

This piece was commissioned by free103.9 tranmission arts. This hour long composition was aired on The Somnabutone, a late night broadcast that soothes insomniacs with music to fall asleep to.

LISTEN: Forever Versions

PROGRAM NOTES:

Re-mix and Dub culture seem particularly relevant to the format of The Somnambutone…for what are dreams if not alternate re-mixs of experiences gathered during our lifetime? Each night our subconscious re-interprets and appropriates varied fragments of our memories and assembles them together to create a different experience. If our waking life resembles the Hit Single (banal, tangible, brief, predictable, reassuring) then our dream life can be thought of as the B Side (amorphous, indeterminate, extended, diluted, elusive).

In the 1970s Jamaican dub pioneers began creating alternate versions of popular music made by local recording artists. The re-mixes made during this period are the first examples of new music being created exclusively from already recorded material. Complete recordings were re-mixed using primitive and often homemade echo and delay sound equipment. The music from this period transcended many of the usual vices of appropriation and forged a powerful new language. Out of this culture of re-interpretation came extended disco mixes, D.J. Culture, Rave Culture and perhaps most notably Hip-Hop.

Music usually struggles to reference itself as medium or process. Where as in Cinema we constantly see Film as a medium referenced. In this piece I am referencing many musical ideas but I am also referencing the elements and tactics of cinema. Many times I fall asleep watching movies. Pieces of dialogue or the emotionally saturated music reverberate in my mind as I slowly begin dreaming. In this piece you will hear the sound of film but you will also hear sounds presented or structured in a visual way.

Music For Swimming Pools (2005)

Music For Swimming Pools was a site specific installation focused on exploring the psychoacoustic properties of underwater listening  environments.  Frequency response measurements using hydrophones (underwater microphones) and MAX MSP patches informed the compositions created for this work. Modified waterproof military speakers with custom designed holding cabinets  were installed inside and outside of the swimming pool .

Two separate loops of  compositions played simultaneously: one above water and one inside the water. Each of these loops featured different compositions designed specifically to interact with the acoustics of the listening spaces. Special Thanks to Bob Bielecki

LISTEN: Field Recording (above water)

LISTEN: Field Recording (under water)

PROGRAM NOTES:

There are many unique characteristics about the way sound behaves underwater. Perhaps the most significant is the degree to which the speed of sound is accelerated. Sound travels approximately three times faster through water than it does through air. This incredible acceleration reduces our ability to localize a sound’s origin and thus gives the impression that sound is omnipresent and infinite.

So much of our experience as listeners is defined by the ability to hear a sound travel ( be it to us, away from us, or past us). An underwater listening environment does not change this concrete physical reality but it does alter our ability to perceive it. This phenomenon creates a transcendent reality absent of any awareness of space and time.