listen to the pieces you will need QuickTime 6
available free from www.apple.com/quicktime/download
Spectral analyses of a percussive strike on a brass
cup with homogeneous resynthesis using the violin and
transpositions of the cup sound itself, exponentially
increasing the frequency components. I hoped for a unity
in a sound family ranging between metallic percussion
and bowed string. The chance to'Ôplay' the violin at
a fundamental of a little over 10Hz, and to prolong
what sound it would make, I imagined a world of sounds
as voiced through that cup - this is five minutes in
My reaction to the world to day. (February 2003) A 60-year
journey to finally become an Electro-acoustic composer.
A journey as a listener that has absorbed a full range
of musical influences from traditional jazz to hard
rock, minimalism to mediaeval plainsong, Gagaku to Gamelan.
My inspiration comes from many diverse stimuli, a visual
image, and article read somewhere or just the urge to
play with sound
Baldock's current guise of Aleatory Music Systems (AMS)
reflects his interests in both programming and the chance
element in music. Over the last 12 months Robbie has
written two pieces of software, AMS Composer and AMS
Sequencer (both Java applications). The piece submitted
for JTTP 2003 makes use of the AMS Sequencer which is
a 16 track 'anti-sequencer'. Each track plays independently
and can be set to run at different relative tempi and
to cycle on different loops of between 1 and 32 notes.
In addition, each track can be set to receive events
from a MIDI keyboard.
No programme notes
SEAGULL'S SEARCH FOR RELIGION
This piece is an abstract musical picture of our search
in life. It is not necessarily about a search for a
religious belief but more something that we search for
to believe in which gives us hope and reason to strive
to realise our ambitions. The sound images of the screeching
seagull and the bell toll may be interpreted as symbols
of us on our search and that which we are searching
for. The ambiguous sounds stand for the obstacles and
difficulties we may encounter in our search. They are
not always negative but often, lessons in disguise.
am in my second year of a B.A. Musical Studies degree
at the Royal Scottish Academy of Music and Drama in
Glasgow. Cello is my principal study and my other musical
involvements include jazz and folk music gigs. This
year was my first encounter with electroacoustic composition
as it was part of our year two coursework. I hope to
continue it next year and do some joint work with students
from Glasgow's school of Art.
Until not so many years ago, as you walked along the
Trent and Mersey Canal towards Etruria, you would come
to the site of the old Shelton Bar steelworks. Just
a few deserted buildings remained, filled with echoes
and distant memories of all the men and women who gave
their lives to the former industrial monster known to
the world as The Potteries. One particular monolith,
a dark, cold, grey building, full of old steel and shadows,
with the still waters of the canal flowing straight
through it, caught my imagination more than any other.
It seemed to me that every time I stared into its silent
emptiness I could still hear the heart of the old Potteries
beating. This composition is my attempt to recall a
little of the soot-blackened Stoke of my ancestors and
I dedicate it to them.
am a mature student currently in my first year at Keele
University, studying Music and Music Technology. I have
spent most of my adult life involved in both the performing
arts and the visual arts and, though I have been a jazz
and blues musician for a number of years, I am new to
the field of Sonic Art. I am particularly interested
in the combination of voices and manipulated sounds.
EYE (STUDY IN MARBLES)
Original source material was derived from close recordings
of marbles manipulated by the hand and in contact with
a wooden box, cardboard box and drum. Through the magical
processes of the computer and mind those original sounds
have been transformed into the piece that appears on
this CD. Structurally this piece attempts to introduce
more overtly pitched material as it progresses, whilst
not forgetting the original sound world.
is currently studying for a PhD in electroacoustic composition
at The University of Birmingham with Jonty Harrison.
_jttp_ is about 6 minutes and 7 seconds. The title was
chosen because the piece was written with the competition
in mind, amongst other things - interplay of different
speeds, frequencies and tempi, weights/densities, textures/surfaces
- the captured behaviour of 'sound objects' frozen in
time, thus allowing for malleability 'out-of-time'.
CHONG (1975) is a composer of electroacoustic music
and sound art. He is a keen collaborator with artists
from other disciplines, involving sound as a key element
in concept and realisation. Li-Chuan worked on projects
in theatre, improvisation, installation and video art,
and hopes to continually expand his horizon.
TIME-DROPS SANK BELOW THE HORIZON
Simultaneous high-pitched micro-sonic points take different
directions in this piece. The title was actually and
the starting point of its making. Independent micro-time
events generated simultaneously, and 'sank below the
horizon'. All the sound material have been synthesized,
although, at some points the sounds might remind water-drops,
Chrysakis is a London based composer and sound designer
from Greek origin. Even though his main interests are
music & sound, writing poetry and image making are also
(in equally footing) practiced by him. His musical work
consists of acousmatic/microsound compositions, instrumental
music, and generative installations. Some of his music
has been web-released, and also, broadcasted in England
by Resonance FM, Austria [by ORF art radio-station],
Hungary and USA. Up to now, he has appeared on compilations
for the independent labels porousher and Arrêt
And Old Fire alarm; the bell is a signal and a cause.
Clarke (Aberdeen, Scotland, 1978) Studied electroacoustic
composition and music technology, with Robert Dow and
Peter Nelson, at the University of Edinburgh and completed
several works for tape, including 'bell tourist factory'.
It was premiered at the 'dialogues at the bedlam' festival
of electroacoustic music in May 2000. Beginning further
study of composition at the University of Birmingham
in October 2003, with Jonty Harrison. Current projects
include a soundtrack to a short film and a work for
tape using samples collected whilst travelling in Europe.
Starting from a small number of recordings in and around
the fridge in his apartment, the composer reconciles
himself with an otherwise intrusive background noise.
The fridge's interesting clamour is juxtaposed with
a coat zip and microtonal singing. Extensive SuperCollider
programming allows varied transformations.
Collins is a freelance computer musician, and lecturer.
He is self taught as a composer, and heavily involved
in the SuperCollider community. An emergent and currently
unpaid researcher, his publications (academic papers
and code) are available online via sicklincoln.org.
An electroacoustic miniature, IÕm not Elvis uses, as
a primary source, unprocessed spoken word material form
an interview with a pavement artist from Liverpool,
various forms of granular synthesis, other sonic elements
consist of an isorhythmic "motet" based on
a simple melody in E minor (the sound source for this
is a single phoneme of speech), abstract sounds derived
from sine waves, a rhythmic loop and a few found sounds.
Geoffrey COX (b1963) began his musical career in London
as a guitarist in a post-punk, new wave band in 1979.
Having completed a degree in composition at Huddersfield
in 1999 (where he now teaches music technology) he has
embarked on a PhD.
DE LA HAYE: FUCKING
SourceMaterial. Insert. 100MbZip. ReadData. Eject. Repeat.
Sampled. Sonic Character. Vicious. Precise. Rhythmic.
Sharp. Audio view Formed. Experiment. Improvise. Sound
Forge. ES_1Korg. Edit. Cut. Splice. Repeat. And Again.
Cut. Splice. Edit. Design. Structure. Real. Enter Anomalies.
Cross fade. Dismantle. Rearrange. Lose Identity. Abstract.
DE MONCEY-CONEGLIANO: BIRDTRANE
Could this be a belated epitaph for two long gone jazz
musicians Bird and Trane expressed with real birds and
real trains? It could. Could there be an inherent connection
between environmental sounds (natural/man-made) and
musical sounds? There could.
de Moncey-Conegliano studied electronic music in the
1970s at Morley College London but though prolific all
those years has only begun to become an emerging composer
since 2000. The video installation The Shout, by Pia
Videla-Hintze for which Peter composed the music has
been chosen for Bourges 2003.
A piece made with water, straws, squeaky kitchen utensils,
a bottle, Alka-seltzer, and a glass lampshade. The piece
grew organically. The form is almost ternary. The ending
being a variation of the opening, creating an ambiguous
sound world, which can be entered in a believable way
from the previous material.
studied with Frank Denyer and David Prior at Dartington
College of Arts. I am currently studying for an M.A.
in electroacoustic Music at Huddersfield University.
My piece 'Fragile Graffiti', created in collaboration
with dance practitioner Lati Saka was performed at Huddersfield's
Electric Spring Festival 2003.
Have you ever experience the frustration of waiting
for your computer to dial up and connect to the internet?
What if your computer presented new worlds of sound
while connecting? This piece was conceived as an elaboration
of the properties of a modem tone, taking the listener
on a journey realising a very different computer connection.
As an electroacoustic experimentalist and avid consumer
of the genre, Louise has been actively composing throughout
her academic career. With airplay and support from BBC
Radio 3's 'Mixing It' and a self designed performance
'kit' she is rapidly widening her listenership in the
UK and abroad.
GANDER: MOVEMENT TOWARDS STILLNESS
(This piece was disqualified as it
did not meet the submission criteria)
work Movement Toward Stillness uses Indian raga tala
scales and rhythms. The featured artist Piers Adams
(recorders) has worked with Chris Gander on a number
of projects involving synthesised sound and theatre.
Gander is a world music composer and specialist. He
has used the music's of Persia, Spain and Brazil to
great effect. His greatest strength is the work he has
created using Indian musical parameters. Chris is an
expert on Indian music and its use in many compositional
guises. He has worked with top artists such as Michael
Finnissy, Piers Adams, Jason Carter and The Bingham
String Quartet. He has had performances in top London
venues and throughout the world. Chris also runs World
Music Improvisation workshops and runs educational projects
on world music for children and adults.
Interplay between co-ordinated and chaotic behaviours
of particles and particle masses in a series of contexts.
An ebb and flow of material that incorporates natural
as well as synthetic sounds which seem chaotic but have
an amazing amount of detail and structure. Genesis,
Universe, Life, the Sea. Bangor, Wales 2002
in Athens, Greece, 1971. Studied Electronic and Biomedical
Engineering at the National Technical University of
Athens, MA in Digital Music Technology at the University
of Keele. Ph.D. in Electroacoustic Composition at the
University of Wales Bangor, concentrating mainly on
tape music and sonic improvisation and collaborating
with other musicians as well as with visual artists.
THE BEAUTIFUL SILENCE
Come with me to a place where no-one can hear
Into the beautiful silence.
Please - a word
Take a chance
Hold my hand
I will never experience silence
There is perfection within imperfections
Silence can never exist
I will never experience peace
The beautiful silence
When I have gone
Always so much
I have discovered that there is true beauty in imperfection
I will never experience peace
I will never experience silence
Silence can never exist
Even in an acoustic chamber you can hear your body's
nervous system functioning
Come with me to a place where no-one can hear
Take a chance and give in
There is perfection with in imperfections
Will you hold my hand please
Will you hold my hand
Please a word can mean so much and so little
I love you always
I will be thinking of you when I have gone
Into the beautiful silence
Tanzhaus is an electroacoustic soundscape composition
which traces the form of an 'emotional wave', as taught
by American choreographer/performance artist Gabrielle
Roth, following five sequential stages: slow-flowing
(fear); staccato (anger); chaos (sadness); lyrical (joy);
and stillness (compassion). The piece developed from
the time-stretched timbres of a piano, recorded at the
Tanzhaus dance studios in Zurich, where I was performing
a site-specific work with London-based performance art
group 'The Five Andrews'. The soundscape recordings
originate from Zurich, London and the Peak District
of South Yorkshire. The piece explores the boundaries
of imagination and reality; merging polarities; catharsis.
Horrocks has been composing for performance artists
for over ten years. In 2001, he graduated from Middlesex
University with a B.A. in Sonic Art. He is currently
studying for a PhD in Electroacoustic Soundscape Composition
at the University of Sheffield. He hopes to further
develop his work into education, encouraging greater
awareness of the soundscape; our responsibility to it,
and for it.
I AM QUITE CLOSE TO YOU
In NOW I AM QUITE CLOSE TO YOU, I used ideas from horror
film music and sound effects to give an impression of
something dangerous and uncanny lurking nearby.
Johnson's work includes Just an animal looking for a
home, recently performed by the BBC Symphony Orchestra
and It's a beautiful night from here to the trembling
stars, a collaborative multimedia work which has been
performed by Ensemble Eleven, the London Sinfonietta
and the BT Scottish Ensemble. He has also been commissioned
and performed by various ensembles including the London
Sinfonietta, who have premiered Honesty, Sabotage and
Don't say a word.
UNLIKE A CONVERSATION
It grew out of an idea which started when I heard a
recording of a Gamelan, wandered away from it to a group
of people chattering in my garden in the evening whilst
the birds were beginning to signal dusk. All these elements
will be discernible.
No programme notes
This piece seeks to explore the sonic complexities of
a rather simplistic selection of source material. Through
granulisation and manipulation, recordings of ceramics,
wood and metal are placed in a sonic world where the
spatial focus is constantly changing.
Kilshaw graduated from the Royal Welsh College of Music
and Drama in 1998 earning a Postgraduate Diploma in
Music Under the tutoring of Roger Butler, he began to
explore the realisation of his compositions through
technology. Simon is a lecturing technician to the Music
Technology Department of RWCMD on the Bmus and Postgraduate
programmes of study.
BreakWater was composed during Spring 2000. It is the
first piece of a project in process called 'Grand Piano
Trilogy'. The main characteristic of this trilogy is
that the whole sound source comes from the piano. The
sound material of the work comes out from around, below
and inside the piano played by various unconventional
ways. In addition, some sounds come from prepared piano
performed by the composer. The piano preparation based
on the table of J. Cage's piece 'Preludes and interludes'
for prepared piano (1960).
recording sample, of the breaking waves (crashing on
very large boulder-sized rocks) located west of Saronicous
Bay in Greece, was the beginning. The image and the
sound of the splash over a breakwater, creates a strong
perceptual and psychological effect to the viewer/listener.
These relations between human consciousness and objective
reality served as the starting point. Then I made a
phenomenological reduction, cutting away everything
that masked the true nature of the phenomenon and applied
it on the piano. The whole experience now is recreated
through a metamorphosis of an abstract musical idea
based rather on piano's explosive sound waves.
short and energetic samples constitute the cells, which
are combined to produce phrases and then to construct
sections. The idea passes from one part to another through
a constant timbre modification of the initial cells.
Theodore Lotis has studied the guitar, flute, music
analysis and composition in Greece, Belgium (with Annette
Vande Gorne) and England. His music has been performed
at festivals and conferences in Europe, Australia, America
and Asia, and has received a number of awards and distinctions
at Bourges 2000 in France, Sculpted Sound Composers
Competition 2000 in UK, ART'S XXI 2001 in Spain, Metamorphoses
2000 and 2002 in Belgium, Luigi Russolo 2000 and 2002
in Italy and CIMSP 2001 in Brasil. He was awarded the
first prize at the Concours International de Spatialisation
pour l'Interprétation des Ouevres Acousmatiques,
Espace du Son 2002, in Brussels, organised by Musiques
et Recherches and sponsored by the Fonds Européen
des Sociétés d'Auteurs pour la Musique.
He has realised commissioned work for Musiques et Recherches
(1997 and 2000), Sculpted Sound Composers Competition
(2000), and Amici della Musica di Cagliari (2001) in
produced several instrumental works and collaborated
with artists from various disciplines (dance, theatre,
video) his current endeavours in music are focused on
spectrum, timbre, sonic space and light. He has completed
a PhD in Music at the City University, London (supervisor:
Denis Smalley) thanks to grants from the British Academy
(Arts and Humanities Research Board), and the Foundation
A.S. Onassis. Theodore Lotis has been teaching electronic
composition at Goldsmiths College, University of London
(2001-2003). He is currently teaching at the Technological
and Educational Institute of Crete-Centre for Technological
Research of Crete, Greece (Departrment of Music Technology).
He is founding member of the Hellenic Electroacoustic
Music Association (HELMA) where he currently serves
Dolente/Beethoven op.110" Electroacoustic music Duration:
Dolente/Beethoven op.110 is based on Beethoven's Piano
Sonata op. 110, and more specifically on the third movement
Adagio ma non troppo. The Arioso Dolente, which includes
the main melodic themes, is the epicentre of the third
movement. Although I have largely maintained the harmonic
structure and even the melodic profiles of the movement,
the electroacoustic piece remains a comment on the original
piano sonata rather than an analytical approach to Beethoven's
music. I was more interested in the spiritual aspects
of this sonata. Beethoven had just rebounded from a
period of illness, and his recovery sparked his creative
forces resulting in the genesis of op. 110. Both the
joy and the melancholy of life are merged in this movement
as an omnipresent duality. While composing my musical
comment on Beethoven's Adagio I tried to enhance this
duality by means of spectral transparency and luminosity,
which often contrasts and converses with textural obscurity
and opacity. The main melodic theme of the original
Arioso Dolente appears in the middle of the piece, remote,
magnified and utterly stretched in time. Arioso Dolente/Beethoven
op.110 was composed at the studio of City University
in London and my personal studio. The version for 5.1
surround speaker installation was created at the Electronic
Studios of the Department of Engineering of the Aristotle
University of Thessaloniki, Greece, with the collaboration
of Professor Georges Papanikolaou. My warmest thanks
to Maria Metaxaki for the piano recordings.
To see a world in a Grain of Sand
And a Heaven in a Wild Flower
(Taken from 'Auguries of Innocence' - William Blake)
Mayer is currently at the University of York, pursuing
a BA (Hons) in Music. He has studied with Andrew Keeling,
Karen Markham, Bryn Harrison, William Brooks, John Stringer
and Ambrose Field. Next year, he will be undertaking
an M.Mus in composition at the RNCM.
Myojo was inspired by a poem by a Japanese poet Shimazaki
Miyachi has composed for orchestral, chamber, vocal
and electroacoustic mediums. She studied at the Guildhall
School of Music and Drama (London) where she obtained
her BMus and MMus degrees. Her current compositional
interest lies in collaboration with artists; she has
recently worked with choreographers and visual artists
and the projects have been presented in the Bath Festival
2002. She is currently on DPhil composition course at
the University of Sussex under supervision of Martin
I DO IS IN INVERTED COMMAS
James Mooney (b. Edinburgh 1980) studied Music at the
University of Newcastle upon Tyne. He then went on to
obtain an MSc in Music Technology at York University
and is currently working towards a PhD at University
of Sheffield Sound Studios.
I Do Is In Inverted Commas (7'56"). This piece has themes
of self-reference and self-absorption. The title comes
from the idea that, beyond a certain level of self-consciousness,
all spontaneity is lost and one's behaviours, actions,
and even thoughts, seem awkward, contrived and insincere.
If one perceives oneself in this way, then how can one
earnestly forge one's own identity out of the pick-and-mix
of tired behaviours?
Rob Mullender is a sound artist currently living and
working in London. His work is informed by field recording
techniques as well as electronic and acousmatic concepts,
and is driven by a wish to express through sound energy
and systems not normally sound based or audible.
submitted piece was produced using a variation on the
Michelson Interferometer, ultrasonic emissions from
standard low energy household light bulbs, and the A.N.S
Synthesizer - an early 20th century drawn sound instrument.
title 'Tungsten/Xenon/Nickel Arsenide' refers to the
light sources from which the source material on the
recording was generated.
The main focus of the piece is the incessant grinding
of the machines and how they react with wood. A main
idea reoccurs throughout and is based on the band saw.
My main objective is to collage the original material
with the processed, at times merging the two and in
others just allowing them to be. The piece by nature
is of continual development and movement even at the
most static of instances.
Roberts is currently finishing her degree at Bangor,
majoring in Solo Performance with Nigel Shaw and Electroacoustic
Composition under Paul Issit and Andrew Lewis.
Emergence freely explores a triangle between the rhythmic
regularity found in today's dance music, comic or rhetorical
timing, and the Newtonian authenticity of physical gesture.
It focuses particularly on the compositional merits
and pitfalls of representing this temporal plurality
as a singularity to a linear perception.
am greatly influenced by the music of artists on such
labels as Warp, Planet Mu and Rephlex. I have released
music on various dance, music labels, my music has been
broadcast on Radio 1 by John Peel and Steve Lamacq.
I completed an MA in Electroacoustic Studies at Durham
University in September 2002.
During the winter in Wellington, New Zealand storms
move rapidly north from Antarctica and are incredibly
powerful. Äwhä (meaning gale or storm) explores
the power and ferocity of the storms that lash the south
coast of Wellington every winter; I set out to recreate
the very essence of a storm.
Shepherd, Born in Wellington, New Zealand, 1969; is
an active member of BEAST and continues to explore noise
in all its forms. His works have been performed widely
in New Zealand, Australia, England, Germany, France,
United States and in Nepal.
OF THINGS IN OTHER PLACES
When things occur simultaneously there will always be
different levels of friction. Energy, disagreement,
pitch, physical action and others are areas where difference
can generate musical material.
of things in other places explores different levels
to structure sound ideas through differences in material
and sound sources. Created in 2002 at the composer's
studio and commissioned by the Mexican Council for the
Arts, the piece has been performed in Brazil and Korea.
Room 101.1 combines the double bass with a specific
electronic effect that makes it possible to access new
worlds of sound that are unobtainable on the instrument
acoustically. These new sound worlds facilitate the
compositional needs to evoke specific moods and emotional
states that are experienced by the character Winston
Smith in George Orwell's novel 1984, before he is to
enter Room 101.
studying composition at the Royal Academy of Music London
with Christopher Brown. Recent Achievements include
Finalist in the International Schnittke composition
contest for the work Room 101.1, (final round in November),
finalist in the Music Russolo 2002, Awarded a bursary
for study in the academic year 2002/03 by the Royal
Academy of Music, Premier of work 'Unknown Known life',
at the Queen Elizabeth Hall London, Accepted the title
of Associate Composer of the Australian Music Centre,
Awarded the Moscow Carner Composition Award to the value
of £2,000, Awarded the High Commendation from the Australasian
Performing Right Association, in the classical composition
category of the Professional Development Awards for
TheFutzButler (Paul Sumpter) is a young Sound Designer
and Electronic Composer from West London, currently
studying Popular Music at Leeds University. His work
utilises found-sounds which are heavily effected, often
until unrecognisable from the original sound, to create
extreme, sonic Noise-Music. 'Cage' is a short narrative
piece that represents the discourse of a frustrated
caged animal, communicated through blending onomatopoeic
processed found-sound with aspects of Seriallism. Samples
were taken from industrial machinery, household objects/appliances,
transport and electronic interference, feedback and
Subway Hum happened in 2003, New York City. Performed
by the Subway Hum, Squeaking Brakes, Passing Trains
and a crescendo of Sirens; it is the city's Morning
Symphony. This field recording captures sounds in time,
creating a unique and natural composition, drawing the
listener into its harmonic and mesmerizing depths.
is Zoe Riddell and Catrin Jones - sound art musicians
- whose work includes environmental sound installations
and an ongoing series of CD releases, comprising live,
un-edited improvisations using field recordings, synthesizers,
flutes, oboe and bells. Thunderbolt's work focuses on
capturing moments of magic and inspiration.
A homage to Roland Barthes and his essay Tthe Rustle
layering of 4 soundtracks each played on 4 distinctively
old and mismatched CD players. The abstract and hypnotic
melody thus created is continually evolving thus trying
to imitate the mechanics of the artist's mind at work;
sometimes operating with clarity and insight, most often
in confusion and chaos.
track is also representative of a particular aspect
of Language. Breath as primal language - emotional and
reactive language of laughs cries and vocal noises -
random reading of various notes, texts and word plays
written between 1997 and 2001 as reflective and psychological
language and a continuous monologue reflecting upon
the passing of TIME, read counting each second in between
words as cognitive and representational language. When
sound installation (under the provisional and pompous
name of Inner voices) was shown recently as part of
MAXIS international festival of experimental sound and
music in Leeds in April 2003.
Alpha and Omega narrates the vision of the apostle John
(on the Greek island of Patmos), found in the book of
Revelation in the Bible. It details his visions of Jesus
Christ and of heaven. Alpha & Omega recreates this dream
so that the listener is able to experience the vision
themselves. Images arrive, disperse and transform into
other landscapes. The forces of nature are combined
to reveal the spirituality, power and of God.
Watt is currently a freelance composer and sound designer.
This piece was composed and realised during postgraduate
study at Keele University, sept 2001.
ELLIS RIAH ORAY
This piece arose out of collaborations between composers
from the Guildhall School of Music and Drama and choreographers
from London Contemporary Dance School in early 2003.
Together with the accompanying dance, the work examines
concepts of performance; in the music this is explored
by challenging listeners' judgements of where sound's
are sourced from by using live singer and cellist against
an electronic score derived from material used in the
live sections. Thus boundaries between natural (un-manipulated)
recorded music and manipulated sounds are broken down.
No programme notes
Double Reed is the first of a projected series of pieces
drawn from recordings of homemade instruments. In this
case the instrument is fashioned from a plastic drinking
Richard Whitelaw lives and works in Birmingham, UK where
he is working toward his PhD with Dr. Jonty Harrison.
As well as being active as a composer and producer he
works as a community artist and teacher for various
organisations including Community Music Wales, Gain
- UNESCO Electronic Music Network and The Education
Action Zone. His music is featured on 'Viewpoint: Works
from BEAST Vol. 3' (Sargasso) and on Broadcast's 'Pendulum
DEVICE FOR... THE BOOGIE