“Only for a Moment”

New music up on bandcamp!

A slow-evolving, minimalist piece for modular synthesizer.

New Music: “Cybernetics & Feedback”

I’ve released a new collection of pieces, “Cybernetics & Feedback”, available on bandcamp:

Cybernetics & Feedback

Inspired by the cybernetic and feedback works of Roland Kayn, Éliane Radigue, Bebe Barron, and Jaap Vink, and embracing an anything-goes noise music aesthetic, this collection of works from early 2022 explores analog feedback loops and self-regulating patches in Eurorack modular.

In these pieces, audio signals are routed back into themselves, and used to control processes and trigger events. While these are performed improvisations, “performance” in this case does not mean strict control, since these systems influence themselves as much as the performer does.

One of my sketches. I think this is Track 6.

A quick acknowledgement that these noisy soundscapes might not be for everyone. Don’t worry. I won’t be offended.

I do have something a little more crowd-pleasing:

Ambient Chiptune (for Studying)

As a bonus, I’ve put up all the audio tracks from my “Ambient Chiptune” videos as a free/pay-what-you-want download.

(Definitely easier listening on these!)

Enjoy!

Reviews for “Beneath a Canopy of Angels…”

The Post Haste Reed Duo‘s debut album, “Beneath a canopy of angels… a River of Stars,” which includes my 2011 work, bioMechanics, has been getting some great press.

Check it out:

Post-Haste Reed Duo: Beneath a Canopy of Angels…a River of Stars

“Would that all new music and its performances were this tight and this serious!”

Sonic Haiku (SEAMUS Electroacoustic Miniatures 2015)

Check out my piece Lübeck Kireji on the new SEAMUS Electro-Acoustic Miniatures CD, “Sonic Haiku”

SEAMUS Miniatures 2015

While haiku are most famous for their brevity and 5-7-5 syllabic pattern, two other elements are necessary for a traditional haiku: an evocation of the season and a juxtaposition of two distinct images. The two images are separated by a “kireji” (a “cutting word”) which indicates a pause, creating a space between the two ideas and inviting the audience themselves to connect these independent thoughts.

Post-Haste Reed Duo CD available

Post-Haste Reed Duo’s debut album (which includes my piece, bioMechanics) is now available.

Thanks again to those of you who donated through the Kickstarter, and, if you didn’t reserve your advance copy, you can now get the album on Bandcamp, CD Baby, iTunes, Amazon, Spotify or most other places where you might buy music.

The album already received a great review in the March issue of textura, praising the duo’s performance and describing bioMechanics as a “bold opener” where “sheets of metallic noise as well as beat patterns interact with the duo’s acoustic sonorities, making for something of a showstopper, even if it’s just seven minutes long.”

It’s a great CD all around, and a great addition to the collection of serious fans of new music or unique chamber wind repertoire.

Shin no Shin, for iPad and electronics

Here’s another contemplative work that I premiered at the Future Music Oregon Concert on November 17th, using iPad and the Kyma system.

It contrasted nicely with the Post Haste Duo’s performance of my chop-buster bioMechanics that was also on the concert (video of that performance coming soon).

Simon Hutchinson – Shin no Shin from Simon Hutchinson on Vimeo.

In his essay on Japanese Aesthetics, Donald Richie explains a three-part formula for classifying the arts, shin-gyou-sou:

“The first term, shin, indicates things formal, slow, symmetrical, imposing. The third is sou and is applied to things informal, fast asymmetrical, relaxed, the second is gyou and it describes everything in between the extremes of the two.”

These three divisions, though, can also all be subdivided in threes, such as shin no sou (the more sou end of shin), shin no gyou (medium-shin), and shin no shin (the highest level of shin).