This is a song cycle made up of 4 sections. There is a break between sections 2 and 3, but the other sections are connected. The first 2 minutes consist of a few layers of drum machines playing. Each layer is made up of little sounds and the relationship between the layers shift and evolve. Eventually acoustic instruments join in and sprout songs over the rhythmic base. Each of these beginning section starts instrumentally and ends with a vocal entrance. The last 2 sections mimic the beginning in an expanded way.  Section 3 "the cathedral" eventually leads into "the world is always disappearing" (section 4) which is a vocal section.  The whole scheme of the work goes like this: Relay 1 (percussion introduction, instrumental section leading to vocals); Relay 2 (percussion transition, instrumental section leading to vocals)// Relay 3 ("cathedral" organ introduction/transition, instrumental section leading to the song"the world is always disappearing").  The use of a sample that exists throughout the piece is another element that ties it all together.   

Ghost Life was an ensemble project based on mostly small rhtythmic instruments .  When it first started, I wanted to combine my love of pop and ethnic music with ensemble organization.  The instrumentation allowed me to put percussion up front to form its own narrative.  At an age where anybody can play a single instrument and fill up a room completely with sound, I wanted all the individual sounds of the group to be tiny.  I also tried to avoid any use of chord progressions, relying instead on the constanly shifting rhythmic elements and combinations to sustain interest in the pieces.   I made some virtual ensemble performances to highlight the physical elements of the sound.  That element is an important factor in this music and might be lost on just a listen through.   After years of performances with little documentation, I wanted to have some representation that would highlight the sound generating process of the physical action.  

I collaborated in this group as a drummer.  We recorded an album in El Paso, Texas, in July, 2017.  

A duo project started in 2013 with long time collaborator, Emmanuel Nicolaidis.  The angle of experimentation in these songs were to use sampled and programmed rhythms along live rhythmic elements to generate a song. These songs were recorded in September, 2014.  

music written to accompany eamon espey's visual works

this was an attempt to bridge the gap between classical song cycles and pop music. the impetus for this project was an art opening at the current gallery, where it was first performed. for this, we decided to work with orchestral instruments and vocals. the 14 piece ensemble was made up mostly of hired peabody students. the only other time these pieces were performed was at whartscape, in 2008, at the 2640 space. with the exception of the moon song, these pieces were written in collaboration with emmanuel nicolaidis.

this was a trio group with emmanuel nicolaidis and michael bouyoucas. initially, strictly, a studio group, we were able to create ensemble-like passages. the "moveable walk" is piece which exploits the ability to quickly shift timbres while anchored to a central theme. "cabbage bring me the lettuce. i want my wife back" is also anchored on a main theme, but emphasizes the cadences by using silences between the variations.