Gregskius
Innovative impure chance-based experimental music using computers, human voice, instruments and natural sound. Emphasis on form, content and emotion.
9
songs
145
plays
Parliament of Demons - Right bracket Parliament of Demons - Right bracket
This is a three-voice canon for fake flute and sine waves with lots of reverb - it's from a big Bachian piece I wrote on the 15th of September 2006 and is the final moment of the piece. The three iterations of the theme in the canon relate to each o
Recorder Revisited Recorder Revisited
A tape cut-up of me playing headless and headed recorder - quite abrasive and lavatorial. Play LOUD AS YOU CAN!
Die Antizipation des 'Generalised Other' Die Antizipation des 'Generalised Other'
A collaboration with German fluxus artist Kommissar Hjuler, this is a tape cut-up of a conversation in German. I don't speak German, but I've played it to fluent speakers, who have found it disconcerting.
Sperm-horn Doo-doo Mix Sperm-horn Doo-doo Mix
A blending of two strands - synthetic doo-doos from a 'serious' organic piece from last year and real horrible singing from a really horrible piece from this year. The end result is fairly twisted, but if you like that sort of thing....
Show all (9)
UK-based composer writing mainly electro-acoustic music and publishing primarily via www.archive.org - my stuff tends to be emotional, sometimes disturbing.... I write using a lot of chance techniques and like to manipulate amplitude for dramatic effect, as well as shifting stuff about in time... I'm into fake instruments but not used to simulate real instruments, and I'm also into real instruments and particularly the human voice. Very into audio-book type projects and the spoken word.Band/artist history
Born 1974, started playing at 10, writing at 13-14, writing stuff worth listening to (arguably) at 16. Early training was pop-music based primarily, though my taste was for those tunes which I suppose fell into the "classical" category. Later on tried some classical training and did the "university education" thing, which was great for tuition from famous composers and workshop performances of paper scores. Not so good for diversity of thought though - I think I conformed more in those years than at any other time. Now that I'm divorced from most musicians and work either alone or in long-distance collaboration, there's a lot more scope and incentive to think more radically.Have you performed in front of an audience?I do play live, but certainly not often - tend to communicate musically via free demos with eBay sales and via www.archive.org - loads of special moments : mainly the look of shock on people's faces LOL
Your musical influences
Well most importantly I think Iannis Xenakis, who realised that the small details don't make the big picture. I owe him a great debt in terms of theoretical outlook. Same goes for John Cage. I sometimes sound like Michael Tippett or Hans Henze or Alfred Schnittke, and I'm also heavily influenced by Codeine, Throwing Muses, The Fall, Sonic Youth. Sound-wise, I suppose think late Stockhausen, Gerald Barry, Accroche-Note, God-is-my-Co-pilot.What equipment do you use?
Own software, mainly fairly primitive parameter-based chance operation stuff via MIDI initially, then mix and edit via Audacity and Krystal Audio, always as sound, never as MIDI - MIDI just generates pitch-events. I also use a digital camera to record natural audio, microphone for voice (mainly spoken) and also a treble recorder and whatever equipment happens to be lying about. I might be getting a piano (oooooh!!) so expect lots of improvisations in 2007.Anything else?
Main "hub" website is http://homepages.tesco.net/gregskius/ but I mainly publish via http://www.archive.org/ "The Internet Archive", where I have 21 (at the moment) complete CDs for download. This site will also become an important entry-point to that collection.
March,
United Kingdom
ID
515600
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