I elected to focus my dissertation on electro-acoustic composition; building randomised chance based synthesizers from motorway (freeway) traffic algorithms and other unpredictable triggers. Building chaos-instruments and twisting musical elements out of ‘found sound’ sample manipulation synthesis theory was my epiphany moment, akin to a spiritual awakening; music was indeed everywhere, “Music gives a soul to the universe”.
Every composition of mine can trace it’s lineage back to this simple doctine, and as such I continue to obsessively collect and curate an ever growing database of organic sounds from my surroundings. Furthermore, the Hyundai upright overstrung piano in my studio – itself a distant heir to the old battered piano from my childhood – also assumes rather unconventional part in my composition process; The wooden form has inumerable mechanical eccentricities and as such is an excellent channel for percussive performance – with some sensitive post-production, recordings resonate in a uniquely homogenic way with those of conventional piano performance.
