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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_0911 : Pissnitz

I remem­ber say­ing good­bye to the house in one last visit, where the idea was to carry all I could before they demol­ished it. I arrived at the new condo early in the day, before my par­ents, and I remem­ber

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2008_0911 : Pissnitz

I remem­ber say­ing good­bye to the house in one last visit, where the idea was to carry all I could before they demol­ished it. I arrived at the new condo early in the day, before my par­ents, and I remem­ber

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2008_0907 : Puss

A work in progress which confirmed my interest in writing some deeper, heavier, repetitively “circling” motifs, which could be given a later use in urgent espionage drama. “…Agent Reese flies propulsively through the air, catapulting past dozens of sniper rifles

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2008_0907 : Puss

A work in progress which confirmed my interest in writing some deeper, heavier, repetitively “circling” motifs, which could be given a later use in urgent espionage drama. “…Agent Reese flies propulsively through the air, catapulting past dozens of sniper rifles

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2005_0615 : Above The Treetops (Mix 1)

This one (intentionally) has “guitar-track” written all over it, but the demo was left bare — just bass and drums — while I demo’ed it in my DJ sets and played with the timing, the feel and the myriad of

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2005_0615 : Above The Treetops (Mix 1)

This one (intentionally) has “guitar-track” written all over it, but the demo was left bare — just bass and drums — while I demo’ed it in my DJ sets and played with the timing, the feel and the myriad of

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1994_0624 : Clair De Lunatic

(1994) Composer : Eric Scott This work emerged from the straightforward development of a musical theme, voiced through six MIDI electronic keyboards: the six voices all speak in unison before branching off into their separate rhythms and melodies– finally reuniting

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1994_0624 : Clair De Lunatic

(1994) Composer : Eric Scott This work emerged from the straightforward development of a musical theme, voiced through six MIDI electronic keyboards: the six voices all speak in unison before branching off into their separate rhythms and melodies– finally reuniting

/ One Comment

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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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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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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1990_1212 : Held (Cynthia Netherland’s Theme)

Another favorite piece from the 3 Mains project. I wrote it much later in the year 1990, as I was winding up the album and was finding that I could no longer escape piano music. It was also a reaction

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1990_1212 : Held (Cynthia Netherland’s Theme)

Another favorite piece from the 3 Mains project. I wrote it much later in the year 1990, as I was winding up the album and was finding that I could no longer escape piano music. It was also a reaction

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1990_0714 : All-In Piano

(1990) Composer : Eric Scott A MIDI reinterpretation of the middle from “Once Is Not Enough” yielded a strangely chaotic and highly percussive piano track for 6 pianos.

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