A number of the new participants in our upcoming (and fully enrolled) Remote Recording Workshops said to me, “Thank you for doing this!” but I feel that these thanks are misplaced. The only thanks that should be given are to the supporters and producing partners of Tilted Axes: Music for Mobile Electric Guitars that enable these courses to be given FREE of charge. The aim is to educate our artistic community so that more of us can create original audio of all kinds: music, spoken word, sound design, etc. and share it in new projects. It is for that that I am the one saying, “No, thank YOU for your support! None of this would be possible without the great community we foster together.” – Patrick Grant
Roomful of Teeth is a cutting-edge, eight-person vocal ensemble that commissions and performs music of all sorts of genres and techniques from all over the world. They’ve studied yodeling, Tuvan throat singing, Sardinian cantu a tenore, Korean pansori, etc.
“We study with masters from these other singing traditions and get some degree of comfort and flexibility from those interactions,” explains founder and director Brad Wells. “And then the commissioned composers observe that process, hear what the singers are capable of and then explore, ‘Given these possibilities what might I create?’”
“The NYC-based composer and performer Patrick Grant has had a long and gleaming career that continues on with his newest release, A Sequence of Waves (Twelve Stories and a Dream). The album is a refined collection of genre-bending and experimental tracks that many critics struggle to pin down. Stumbling into post-minimalism, modern classical, prog rock, and post-rock territory, the album wears many masks. And for good reason, given Grant’s accomplished background.”
Read the interview in It’s Psychedelic Magazine BabyHERE
On this episode of Strings and Things, Angela Babin drops by to work on a Melody Maker that hasn’t been out and about in years, while our host Patrick Grant restrings his studio-weary Les Paul. They’ll swap stories about the weirdest gigs they’ve played in New York City, and talk about how numbers and math inspire Angela’s current compositions. Then they’ll amp up for a special Strings and Things duet.
Since picking up the electric guitar at 14 years old, over the years Angela’s performed in a wide range of venues, from Folk City and CBGBs, to BAM and the Berlin Jazz Festival. She entered the downtown New York music scene with the band Off Beach, and played guitar in the nine-piece experimental rock group The Ordinaires. The Ordinaires were compared to Philip Glass, Captain Beefheart, Henry Mancini, Husker Du and Stravinsky – all at the same time! You may remember their cover of “Kashmir” was all over MTV at the time:
On this episode of Strings and Things, we have the prolific composer/guitarist Nick Didkovsky, founder of the rock ensemble Doctor Nerve, and an agent of destruction in the grindcore outfit Vomit Fist.
While changing the strings on his B.C. Rich Stealth guitar, he tells our host, Patrick Grant, how he uses the programming language HMSL to compose music, and explains the virtues of his single humbucker pickup. Then Nick and Patrick plug into some Vox Amps for an electrifying duet.
Listen to an extended version of “Episode 4 Petromyzontiformes”, the piece featured at the end of the episode:
BONUS! Listen to Nick’s brief demo of the Stealth guitar:
Nick also plays with the Fred Frith Guitar Quartet and composed music for the Bang On A Can All-Stars, Meridian Arts Ensemble, ETHEL, and others. He’s a co-founder of the $100 Guitar Project with Chuck O’Meara. Find out more about Nick and his many musical projects at didkovsky.com.
On the premiere episode of Strings and Things, composer/guitarist Tony Geballe stops by to change the strings on his custom-built Nelson Fidelis TG1 electric guitar, while our host Patrick Grant re-strings his Rickenbacker 330. Tony tells us about his first guitar hero, and how he started playing in a Progressive Darkwave band. Then the Vox amps come out and they perform an excerpt from Tony’s score for a stage version of Faust.