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2013_0511 : Nosedive Into The Future (Mix 2)

An ambient ethereal studio collaboration touted as Cowboy Joe vs. Julie Android which produced some dark and elegaic drums, bass and piano. I created the track in one afternoon, while pursuing an experiment to apply some ambient shimmers to some

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2013_0511 : Nosedive Into The Future (Mix 2)

An ambient ethereal studio collaboration touted as Cowboy Joe vs. Julie Android which produced some dark and elegaic drums, bass and piano. I created the track in one afternoon, while pursuing an experiment to apply some ambient shimmers to some

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2011_0219 : Dirty Guitar Jam

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2008_0914 : Wombast

It’s a brisk but short walk to the local perk shop for a mocha latte, when you know you’re about to turn back and finish up a jaunty, whirly-swirly little piece of tripnotica like this one soon as you get

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2008_0914 : Wombast

It’s a brisk but short walk to the local perk shop for a mocha latte, when you know you’re about to turn back and finish up a jaunty, whirly-swirly little piece of tripnotica like this one soon as you get

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2008_0914 : Criphop

More mellotrons sing their downtempo birdsong, over a breakbeat-blue-sky groove… Another wistful little piece of trip-hop composed on a seasonable autumn afternoon…

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2008_0914 : Criphop

More mellotrons sing their downtempo birdsong, over a breakbeat-blue-sky groove… Another wistful little piece of trip-hop composed on a seasonable autumn afternoon…

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2008_0909 : Curtailed

Fragments of playfully jazzy hip-hop, colliding with a descending, feel-good bass line… Something I wrote quickly, while the sun disappeared behind the clouds that afternoon…

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2008_0909 : Curtailed

Fragments of playfully jazzy hip-hop, colliding with a descending, feel-good bass line… Something I wrote quickly, while the sun disappeared behind the clouds that afternoon…

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1994_0617 : Music From 3 Hats (in F)

(1988) Composer : Eric Scott This, my first work of process music, was a piece in which a set of chance operations determined the structure of the musical phrase, including the arrangement of the instruments to be used. The decisions

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1994_0612 : Musical Anamorphosis No. 1 (in Am)

(1991) Composer : Eric Scott This piece was derived from my work “Parc de Sceaux” (which appears on day 031 “50 Minutes From Paris”). Arranged here for six pianos, the piece was also lengthened from the original 2:30 to a

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1994_0612 : Musical Anamorphosis No. 1 (in Am)

(1991) Composer : Eric Scott This piece was derived from my work “Parc de Sceaux” (which appears on day 031 “50 Minutes From Paris”). Arranged here for six pianos, the piece was also lengthened from the original 2:30 to a

/ One Comment

1993_0818 : Un Moment, S.V.P.

I’ve always heard a high tenor voice singing a melodic lead over the top of this (perhaps in the style that Belgian composer Wim Mertens does so well)… It’s always crossed (a bit too dangerously) into Supertramp-kind of territory, with

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1993_0818 : Un Moment, S.V.P.

I’ve always heard a high tenor voice singing a melodic lead over the top of this (perhaps in the style that Belgian composer Wim Mertens does so well)… It’s always crossed (a bit too dangerously) into Supertramp-kind of territory, with

/ One Comment

1992_1207 : Trocadèro No. 2

“Trocadero” (1 & 2) are a little bit of me, where Erik Satie and Vini Reilly (Durutti Column) might intersect. I recall composing this as a bedroom-musician and it was all about the loss of love at a time when

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1992_1207 : Trocadèro No. 1

“Trocadero” (1 & 2) are a little bit of me, where Erik Satie and Vini Reilly (Durutti Column) might intersect. I recall composing this as a bedroom-musician and it was all about the loss of love at a time when

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1992_1024 : Detained (in Dm, 8 bpm Mix)

(1988) Composer : Eric Scott A radically slowed-down version of the track (Detained) which appeared on my first release (“3 Mains”, Day 001), and in which the concept of pedal sustain and delay is explored by multiple pianos over the

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1992_1024 : Detained (in Dm, 8 bpm Mix)

(1988) Composer : Eric Scott A radically slowed-down version of the track (Detained) which appeared on my first release (“3 Mains”, Day 001), and in which the concept of pedal sustain and delay is explored by multiple pianos over the

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1991_0401 : From Bombay With Love I

I’ve always had a tendency to write a lot more ‘middle-8’s, ‘intros’ and ‘outros’ before any real verses or choruses. This little segue ended up with various titles along the way… During the mid-late 80s, ‘From Baghdad With Love’ was

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1991_0401 : From Bombay With Love I

I’ve always had a tendency to write a lot more ‘middle-8’s, ‘intros’ and ‘outros’ before any real verses or choruses. This little segue ended up with various titles along the way… During the mid-late 80s, ‘From Baghdad With Love’ was

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1991_0323 : M.L.B.W.

With its crying piano, this was to be a Singing-Fish type of instrumental; the wacky side to the album that would differentiate it from the “new age” market which I despised so much. m.l.b.w. stands for “my little Belgian wolf,”

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1991_0323 : M.L.B.W.

With its crying piano, this was to be a Singing-Fish type of instrumental; the wacky side to the album that would differentiate it from the “new age” market which I despised so much. m.l.b.w. stands for “my little Belgian wolf,”

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