First off, I'll set your thoughts at ease: I wouldn't call myself a composer, not in any traditional Conservatory sense or really any sense at all, and I'm not much interested in the timbral weight of sounds per se so I likely wouldn't sit with the phonometrographists either. What I do with sound and design is toward an understanding of gross anatomy for a remedial sonic therapy, aural healings for chronic nihilist ailments of our post-nuclear pessimism, sacred in a medieval sense. This is not music of contrapunctal accolades and clever craft, it is change-work music. I am therefore simply your net-resident Audiologist, and it is a happy accident that my first public release is a 50-minute Hour.

Like Cage's ego-removed post 4'33" period, I seek landscapes for personal discovery rather than heroic composition and performance spectacle. This is music in the rediscovered tradition of sacred and the spiritual in a music that commands our attention, music that leads our contemplations. Those who persist cannot escape; those who pass casually miss all.

Hard lessons are taught by armies; lessons harder still are taught by artists.

This work is simultaneously familiar and alien. This is not the illustration of great conceptual philosophy, it is the plain and ordinary music from the inside of your head as it really is; we ring a clapper, the bell resonates, such is the nature of the form and metal of the bell. This music is roughly hewn because it is tentative and explorative -- if I could polish to final forms, my work would be done, we would have our answer, and art would cease to be any fun. Superficially indeterminant, the work pays homage to the past, leveraging precise processes by which our minds and brains perceive and interact with music, and mindful of the critical social and cognitive roles arranged sounds play in our histories. Where classical aleatoric (chance) music emulates natural soundscapes through extra-human processes, I hold 'music' as an anthropological phenomenon and embrace the pattern language of the traditional forms as rooted in the organism that creates it, and I use my audiologist's apparatus to illuminate where these roots take hold. Meter and and rhythm, for example, are not abstract mathematics, but bound intimately to the simple harmonic possibilites of the human form, the frame of the body, the structure of the lips and throat, hence the inescapable association of composition with dance and voice; we can assert, demand and affirm all we wish, but we cannot escape who we are, not for long.

In looking for these atomic foundational parts and processes, and to escape word-lines that bind and blind, these experiments take form in a geometric and topologically semantic break-out cut-up, more human than a calculated Williams Mix chance arrangement of discreet pieces, yet free of compositional ego (some might call 'tyrrany') the works are still a rich field for discoveries both cognitive and musical.

These sounds are not just sounds, they are utterances. They have a context in the reality of the creature who observes them; they are songs. In living nature, bird songs, wolf calls, the cry of the wild goose and the crickets, none are 'random' and isolated fragments, it is all fabric and weave, natural structure of an evolved co-communication between the emitter and the receptor. Cage noticed how, on re-listening to recordings of chance compositions or the pairing of compositions to unintended natural drama, melody, dance and pattern emerge. Meaning emerges spontaneously ... only this doesn't mean we are left to decode abstract operatic intellectual messages our composers intend to convey. As with the Aether, this is a false question, as demonstrated by Cage and the other post-WWII world-music aware composers, it is a charged issue, unanswerable through the compositional apparatus, left incomprehensible without programme notes ;)

Nonetheless, given a more suitable apparatus, what may be answerable is the cognitive 'meaning' -- just as shamanic visual art and zen gardens can illustrate what it means to truly be human (as distinct from our intellectual and philosophical wishlists on the subject), this music seeks to illustrate in sound the fundamental meaning and structure within the context of our human musical comprehension.

While technically Computer Music (and often realized by computer), this is not computer generated sound; while geometric in process, this is also not serialism: I am as much an observer in my experiments as you are, but my compositions preserve our stylistic foundations as recast in new forms through a process conceptually similar in effect and method to the modern mash-up re-purposing of cultural sounds (and tradition) found in the sampling compositions in Hip Hop DJ music. Through these new landscapes emerges a traditional experience in a pre-renaissance aesthetic, similar to traditional fiddle dance music, or modern techno.

Only this is not DJ music. Letting people do what they do best and leaving machines to do what they do best, like Hip-Hop, these works begin and end in human creative expression, only created outside of the ego-space, as opportunites for discovery intimately facilitated by today's computing technologies and protocols, explorations that could be made available through no other method.