Killsonic is a collective of musicians operating in the Greater Los Angeles Area specializing in the creation, development and performance of new hybridized music. Comprised of a core quartet of guitar, bass, drums and woodwinds, the group names its primary musical source as the free jazz of Ornette Coleman, John Coltrane and Eric Dolphy. Similar to these artists, Killsonic also takes inspiration from contemporary art and sound. Listen closely for hints of Roni Size, Radiohead, Sonic Youth and Arab on Radar to Gyorgy Ligeti and Olivier Messiaen. Killsonic often performs with an expanded ten-member group that includes horns and vocalists. Members of the band have also performed alongside Arkestra Clandestina, Money Mark, Bobby Bradford, and Vinny Golia.
Killsonic’s debut album features a guest appearance by cornet and trumpet hero Bobby Bradford, of Ornette Coleman fame. Each track experiments with different instrumentation, from a clarinet/guitar duo, to an expanded group that includes a female choir.
JC Combs the De Evolution of Adam and Eve
From the EP “Bats in the Beflry. (2009)
from the composer:
“Oh the humanity! What is not to love about our species?”
“This music arrived unexpectedly as the result of an experiment. The rules were as follows: 10 weeks, no clear agenda, no overthinking, everything driven by impulse. Whatever happens during that time gets released as… something.
The team: Atticus Ross, Alan Moulder and myself with some help from Alessandro Cortini, Adrian Belew and Brian Viglione. Rob Sheridan collaborated with Artist in Residence (A+R) to create the accompanying visual and physical aesthetic.
We began improvising and let the music decide the direction. Eyes were closed, hands played instruments and it began. Within a matter of days it became clear we were on to something, and a lot of material began appearing. What we thought could be a five song EP became much more. I invited some friends over to join in and we all enjoyed the process of collaborating on this.
The end result is a wildly varied body of music that we’re able to present to the world in ways the confines of a major record label would never have allowed – from a 100% DRM-free, high-quality download, to the most luxurious physical package we’ve ever created.
More volumes of Ghosts are likely to appear in the future.”
- Trent Reznor, March 2, 2008
NIN Ghosts: I-IV
19 tone equal temperment (for re-tuned software synth)
“The dance project “In-I” starring Akram Khan and Juliette Binoche continues its world tour – taking in venues from Beijing to Sydney. I’ve worked with Akram for a number of years now, as a cellist and writer. Our previous project together was Sacred Monsters in which he partnered Sylvie Guillem.
My score for “In-I” uses lots of mult-itracked cello, prepared piano and electric cello as well as samples of Juliette’s voice which is, to say the least highly lyrical.”
Another ImprovFriday piece. I know Noah Bailey Dowell and his family from a church we all used to go to. He is known as “The Mighty” and he died on 10.3.09 after a battle with a rare form of cancer. He was 8 years old. He and his family are an inspiration. They are all mighty indeed!. This piece is for Noah. I don’t know what else to say.
Two pianists journey together through a circular universe of twenty possible worlds. The worlds appear and disappear one by one, echoed between the two piano parts, and up to four of them may be present at the same time in a gradually shifting multi-cultural mosaic of musical worlds.In this piece, just as in the 5 extremely short “possible world” pieces I wrote in 2003, a ‘world’ is identified by a typical basic motivic gesture. Each ‘world’ varies on its basic gesture according to its own laws. These twenty worlds (Possible Worlds nr. 6-25?) are then intertwined to appear in eighty numbered sections. The eighty sections are arranged in a circular way: section 1 can follow section 80. The odd sections are only played by pianist I. Pianist II plays the even sections. Taken together, the odd and the even sections make use of the same material.
20 Worlds is dedicated to Dante Oei. If not for the many conversations we’ve had about Cage, Xenakis, Sibelius, etc. and his wonderful insights and intuitions about music, a piece like this would have been unlikely.
Amsterdam, October 19, 2005
mashup remix improv meditation of mike crain’s “wandering”
(Music source: samples from old answering machine tape treated and arranged in ACID) — Voices of relatives and friends of cellist / performance artist Charlotte Moorman (1933-1991), from one of her old answering machine tapes (mid-late 1970s?). All other sounds as well are derived from noises on the same tape.” via niwo.com
“Inspired by the works of Conlon Nancarrow. Tempo of 85 BPM maintained throughout.”
“I downloaded Paul’s Extreme Sound Stretch from Sourceforge (mentioned on IF thread somewhere, I think) and started playing with it. It processes a file to extend sound at the same pitch over long intervals (8x, 16x 32x, etc) and it seems to include overtones. Anyway, I wrote a simple E flat major scale with thirds and fourths. The score (.pdf) is here:”