a long-overdue intro to a new project:
FWD: rcrds is a collaborative project started with Aaron Foster Bresley, a fellow composer based in NYC. The spawning idea is simple: not only to have a platform to share our own music and the music of other emerging artists, but to advance a dialogue, or at least more of a spotlight, between artists and listeners alike dealing with those foundational ideas in our music which are too often left unmentioned/undiscussed (to name just a few: the politics of composition/performance, the so-called ‘artifice’ of recording, just what do we mean by ‘silence’?, etc.).
Our debut release was a split of Bresley’s and my music. I recorded a version of two sections from my ‘incomplete polyrhythms’ piece, a catalog-style score consisting only of numbers—leaving the musical translation to be decided entirely by the performer(s). In this case I chose two of my favorite sections (2/1 and 3/3) and contrasted two simple conceptions of a rhythmic group (slow/fast, sparse/dense). Bresley’s piece for piano, sine tones, paper/saw, and field recording is too difficult for me to capture in words: well worth your time. I can’t say what is going on, but my mind is racing (in the best possible way) when listening to that piece.
You can stream and/or purchase the album here.
We quickly followed up that release with an album by Christoffer Schunk. If you have never heard his freakishly beautiful vocalizations (it’s hard to believe that almost all those voices are just one person), do it now.