runagate
runagate@hotmail.com
3amnoise.net/runagate
Cleft Emulsion (6.2 mb)
The Voynich Manuscript as palmipsestomancy. (KVR thread.)
Fizgig (10.33 mb)
Fizgig: A gadding, flirting girl, an implement with a shaft and barbed point used for catching fish, a type of firework that makes a loud hissing sound and a whirling toy that makes a whizzing noise.
Bitterns, Relinquish Thine Ionic Halides (10.46 mb)
My rhapsody to rachMiel. (KVR thread.)
Outrégeous BeehivEeyore (5.08 mb)
Constructed long ago now in honor of the founding of ooTray, this song contains some of my favorite motifs: depth of field as a compositional texture, overtone singing, harmonic overtone morphing and synthesized formats all through a variety of vocoding/sidechain crossmorphing techniques.
Peaking In Sponge (14.84 mb)
The culmination of my long struggle to bring back something from the hyperdimension of entheogenic exstatis through the power of effect wizardry. (KVR thread.)
Saul el Pax (7.33 mb)
My ode to polyslax. (KVR thread.)
Attribution-Noncommercial License
I've spent so many years wishing for a direct download link from my sensorium I can no longer differentiate between what I've made audible in the past and what has merely stormed through my brain day after day or made it in febrile scribbling onto a page.
I started playing extended technique sax in a skronk/prog jazz trio, wended through various configurations of madmen including acoustic songs about Armageddon (bass viol, acoustic guitar/singer, and I and another multiinstrumentalist with 18 instruments on the stage: bass clarinet, casiotone keyboards with popsickle sticks taped to blocks of keys to play chords with our feet, sheng mouth organ, double fipple flutes, Jew's harp, saxophone, singing saw, &c.) to being the vocalist in a couple odd rock bands playing saxophone through parameter-expressible multifx units then using first an Alesis AirFx and then an Alesis Photon X25's infrared 3D midi controller to create "leads" with vocals modified by automated DSP effects. Intersperse that with years of jamming with non-musicians on street corners and public buildings to harass the unwary with a box full of "small" instruments, like ocarina or doumbek & fipple flute multiphonics, playing sax in thunderstorms on the arched struts of bridges over rivers or wildy twisted on entheogens dueting with NASA Voyager spacecraft CDs of the ionosphere of Jupiter and through-composing ludicrous arrangements on borrowed instruments I could only play the parts I'd written and practiced on a cassette 4-track, trying to "punch in" parts as I could actually play them, which rarely worked well.
Having refused to learn Western musical notation and using only most far-out bits of musical theory that appealed to me imagine my surprise when PC-based DAWs and freeware plug-ins came my way. Since then I've spent 5 years half itinerant pauper and half learning musical production, mixing, mastering and all the other necessary but unfortunate arcana of the contemporary digital musical scene, crafting soundscapes of textural and timbral morphing, using depth of field as a compositional form and otherwise upsetting any conventions the medium of the computer allows me access to and, of course, in the spirit of Zorn & Patton making nods to actually existing genres and shredding them like confetti. Midi composition has allowed me to test out ensemble performance of all the trickery I could never get live humans to pull off.
That being said I've recently retired from making entheogenic soundscaping and have turned my attention to addressing pop music & bringing modular chains of live-automated VST improvisation to the stage.