These pieces use the language of electro-acoustic music. Various methods of sound synthesis, extensive processing of recorded sound (soundscapes, objects, instruments, etc) and micro-montage techniques have been used to encompass a huge range of sound objects into the music, which is polymorphic and playful in character. Read more about some of my concepts and techniques here.
The works are acousmatic in context, in the sense that the distance between the sounds and their perceived originating sources is being continuously articulated as an instrumental part of the music. The sound streams themselves hint towards generative processes that may or may not relate to the real origins of the sounds contained within them. Most of the times even the most concrete and recognizable sounds are put into abstract contexts, where the developing spectral morphologies form contrapuntal relationships with the stream of evoked connotations, as melodies and harmonies of sonic “landscapes”.
Often, sound objects may have been deliberately created as ‘abstract’, but the ways they appear and interconnect create a stylized world of almost organic feel. They manifest themselves, undergo particular idiosyncratic changes following natural energy trajectories, transform convincingly into something else and appear or disappear in various ways interacting with their ‘environments’. This way I set a theatre stage for the listeners’ imagination and the connotations that enrich the emerging audio perception patterns. It is a sonic theatre based on the interplay between textures and gestures, modulating tension and audio semantics, resonance and surprise.
Each piece is discussing a certain idea, is based on a “theme” related to a philosophical, technical, sonic, structural, or other concept. At the same time, no set programmatic or narrative interpretation is necessary for us to follow the works. They may be enjoyed as purely abstract musical sound sculptures: discrete sections, alternating dynamics and density, discourses between pointillist, patterned and continuous sonic elements, pitch and noise, repetition and variation, cadential paradigms, nodal points… The connection with anything ‘real’ or extra-musical, be it a thing or a behavior, although in my view generally inescapable and in most cases welcome, will be purely subjective, unstable and elusive.
My work aims to work both on an intellectual and an emotional level – as I see those two as being functionally interconnected and practically unseparable. As with many works in this genre, at moments we find ourselves in a dramatic or even violent mind game of justification or violation of expectancy.
Read more about my compositional approach here.