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2013_0511 : Nosedive Into The Future (Mix 2)

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 guitar and piano, and I wanted a track to play with. The guitar was the […]

2011_0219 : Dirty Guitar Jam

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 back… All produced in the span of an afternoon to illustrate the coffeehouse clientele for […]

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 as he zones in upon his target, a thin, waif-like young thing who cuddles her […]

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 ideas that worked in cross-section. I officially declared this, at one point, as the official […]

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 on a single-chord recapitulation of the six-chord sequence. The descending “chain of suspensions” contained in […]

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 made ultimately governed the tempo of the final piece. The only fixed criteria were that […]

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 the easy transitions between major and minor 7ths in a few of the chord changes. […]

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 something big was about to happen and something else big had just recently happened. It […]

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 something big was about to happen and something else big had just recently happened. It […]

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 its official title until the beginnings of tensions arose between the US and Iraq… otherwise […]

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,” and has been the cause of much futile guessing on the part of my listeners. […]

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 to the Suzanne Vega song Fifty Fifty Chance. Marie was a fan of hers, and […]