FIELDS AMAZE (& other sTRANGE Music) 20th anniversary new recording


new recordings + bonus tracks

1. Keeping Still
extended percussion quintet

2. Fields Amaze
homemade gamelan and microtonal keyboard

3. A Visible Track of Turbulence 1
flute, clarinet, and piano 4-hands

4. Everything Distinct: Everything the Same
three keyboards in Gb just intonation and three percussion

5. A Visible Track of Turbulence 2
flute, clarinet, and piano 4-hands

6. Imaginary Horror Film 1
chamber prog ensemble

7. The Weights of Numbers
aka Fractured Fictions 
three keyboards and drums

8. Imaginary Horror Film 2
chamber prog ensemble

9. If One Should Happen to Fall
six words vs. thesaurus

“…a driving and rather harsh energy redolent of rock, as well as a clean sense of melodicism … the music’s momentum and intricate cross-rhythms rarely let up, making the occasional infectious tunes that emerge all the more beautiful for surprise.” – The Village Voice

Patrick Grant: piano, keyboards, electric guitars, gamelan, percussion – Kathleen Supove & Marija Ilic: keyboards – John Ferrari: drums & percussion – Barbara Benary: additional gamelan – David Simons: Balinese percussion & theremin – Keith Bonner: flute – Thomas P. Oberle: clarinet – Darryl Gregory: trombone – Martha Mooke: viola – Maxine Neumann: cello – Mark Steven Brooks: electric bass – Alexandra Montano: vocalise – Lisa Karrer: lead vocal on If One Should Happen to Fall.

All 2018 production, overdubs, revisions, and new stems recorded at Peppergreen Media, NYC and The Ferrari Factory, NJ. Mixed at Mercy Sound Studios, NYC – Garry Rindfuss: mixing engineer – Sheldon Steiger: album mastering – Patrick Grant: producer

All music © 1997-2018 Patrick Grant and published by Peppergreen Media (ASCAP). This album ℗ 2018. All rights reserved.

Cover photo Cuming Co. Supercell, June 14, 2013 taken by Dave Rebot and used with permission. Album artwork, layout, and design by Eric Iverson. Peppergreen Media logo by Steve Ball. CD image collage created from Elément bleu XII, 1967 by Jean Dubuffet, photo credit: sTRANGE Music Inc.

Thanks and acknowledgements: The Braunschweig Family, Coudert Brothers, Bank Julius Baer, Matthews Panariello P.C., Chris LaBarbiera, Patricia McKenna, Context Studios, Music Under Construction, Philip Glass, Kurt Munkacsi, Jed Distler & Composers Collaborative Inc., Music for Homemade Instruments, Erik Satie, Kyle Gann & The Village Voice, The Bang on a Can Marathon, Stéphane Martin and the musée du Quai Branly – Jacques Chirac, The Ross Institute, The Knitting Factory, Patrick Grant Group, I Wayan Lantir, STSI/ISI Denpasar, Gamelan Son of Lion, Celebrate Brooklyn!, Johnny Reinhard & The American Festival of Microtonal Music, The Fractal Music Lab, James Gleick author of Chaos: Making a New Science, The Margaret Jenkins Dance Company, The Brooklyn Academy of Music, Harvey Lichtenstein, The Mark Morris Dance Group, The Prix de Lausanne, Exploding Music, The Living Theatre, Kalvos & Damien’s New Music Bazaar, Annina Nosei Gallery, John Schaefer, WNYC’s New Sounds, Ralph Valdez, WDET Radio, James Moore & Independent Music Promotions Inc., Jocelyn Gonzales, The NYU Tisch School of the Arts, Roget’s Thesaurus.

Bora Yoon and her Sub-Woofin’ Spoons

Photo by Laurie Olinder

Photo by Laurie Olinder

Bora Yoon holds a small purple box in her hands. “It’s the Buddha Box II, which is a meditative box that Brian Eno made very famous, ” she says. “Many people think that he made them, but he just went to China and bought a lot of them.”

She flicks a tiny switch on the side of the device, and a very low-fi transistor drone emerges from its plastic speaker. “It’s just small little repeating loops of sustained tone, just something to help you, wherever you are, to meditate.”

The Buddha Machine is just one of the many strange items in Bora’s sonic arsenal. At her apartment studio in Brooklyn, there are disassembled wind chimes at her feet, effects pedals, singing bowls, a hand-cranked radio on the shelf, a conch shell, a toy xylophone and tin cans. She composes lyrical soundscapes with these objects, her ethereal voice, the viola, violin, guitar and Max/MSP.

When we visited her last week, Bora shared with us a piece she’s working on now, which is based on her travels in Thailand and the sound of a new instrument she’s created with LEMUR, called the Subwoofing Spoons. In this first video clip, she discusses her compositional process and the origins of the spoons:

In the next clip, Bora performs the piece, using the Subwoofing Spoons, her voice, viola, the chime sticks and the Buddha Machine. Some neighborhood dogs make their own contribution:

As a composer and performer, Bora’s graced the stages at BAM and Lincoln Center, and filled the sacred space at Church of the Ascension with sublime sound. She’s collaborated with other artists such as guitarist Kaki King, DJ Spooky and Ben Frost, and her album ((PHONATION)) contains her piece PLINKO: A Cellphone Symphony, which was profiled in the Wall Street Journal.

We’re so pleased that Bora Yoon is performing at the MMiX Festival. You can find out more about her on her web-site:

(Keep your speakers turned up when you visit!)