Selected Works
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The Los Angeles-based composer’s latest body of work ‘Imagine My Surprise’ is the first to be released under his given name, braiding a hazy sequence of vibraphone, bells, flute, saxophone and shapeshifting synthesizers into a sort of trickster noir, wandering a lazy path between ambient jazz and alien exotica.
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‘Music For a Living Water’ continues his practice of creating custom software written in max/msp to articulate a conversation between composer and computer; a quasi-generative digital architecture built in fragile mosaic of MIDI, acapella vocalist theatrics, and virtual synthesizers, gesturing at some theoretical sound-sculpture of music for abstracted meditation. Using a decidedly minimal sound pallette for this body of work, Werner writes a love-letter to liquid, building fluid soundscapes intended for 'divided listening'; a virtual garden for contemplative walk.
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The 8 pieces presented on Jeremy are woozy and fluid, disorienting, yet also completely accessible. Thematically, the album revolves around masking and smelting pop samples and concealing ubiquitous sound forms in highly abstracted structures. What you hear is nowhere near what it used to be, nor something you can easily file away in your mental cabinet as you're listening.
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A generative composition commissioned for public performance; “qeba” is an engaging yet non-obtrusive piece that weaves in and out of its' environmental surroundings with ease, a synthetic augmentation to the modern city living experience.
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Werner digs deep into his artificial aesthetic, where ideas of physical space and shape are confounded. Machines perform organic activities, bubbling, hissing, sputtering, increasingly fluid and natural, pixels getting smaller and smaller, closer to the fundamental units of life they are based on.
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Digital modern avant-garde MaxMSP pointillism. It feels like music you could reach out and touch, like tiny cold and smooth metallic balls hovering in a large white room with patches of colored shag carpet pasted on the ground and walls. I think of it as a sound installation piece with overall ties to aleatoric, generative, and sound-design music of the past and present day.
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Containing no original recorded material, the series of seven pieces functions as an in-depth processing of the sourced ubiquitous pop piece in an attempt at complete removal of connotation and context. Vocal patterns become distorted and displaced, rhythms become skewed renditions of themselves, individual grains of the recording are rendered into symphonic harmonies.
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G.S. Sultan (member of the Post-internet art collective Brad grammar) utilizes a number of computer processes to create soundscapes that are at times beautiful, disorienting, musical, and humorous. Sampling material is extracted from solo improvisations sourced off the net and then processed and arranged, thereby creating an “orchestra” from otherwise remote performers.
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