Welcome. My name is Keith; I’m a composer of Live-Electronic & Computer-Music based out of Brooklyn.

Formative experiments in software-based micro-sequencing & generative rhythms coupled with novel digital signal processing techniques (as Hrvatski) gave way to the ongoing exploration of glacially-paced shifts in timbre & tonality (“Playthroughs”) segueing into the pairing of relatively primitive analogue-computing concepts & contemporary sound-tools to yield deceptively complex, self-sustaining musical frameworks (“Generators”, “Occlusions”, & “Redactions”). In parallel, repeat-commissions from the GRM to compose for & diffuse Electroacoustic works on the Acousmonium have brought a childhood fascination with Musique Concrète & Tape-Music full circle.

While initially concerned primarily with making records (for kranky, Planet µ, Editions Mego, PAN, Nakid, & countless others) in the interim focus has shifted to performing, with over 500 concerts under the belt; many at the world’s most prestigious festivals (CTM, Dokumenta, FAQ, LUFF, Mutek, Présences Electroniques, Semibreve, Sonic Acts, Terraforma) & houses of culture (the Banff Centre, EMPAC, Fylkingen, GES-2, the Guggenheim, HEK, Maison de la Radio, MASS MoCA (pictured), Paradiso, Podewil, REDCAT, Sydney Opera House, Volksbühne).

Gaining access to the prototype Paperface & SF Tape Music Center 100 systems at HUSEAC kicked off a life-long love affair with “Period” Electronic Instruments, leading to works (“Multiples”) for a litany of obscure & regional designs by Buchla, Coupigny, Delta Music Research, EMS, Hordijk, Moog, Publison, Serge, Steiner-Parker, & Triadex Muse. This interest has culminated in collaborations, residencies, & teaching engagements at Columbia Computer Music Center, Elektronmusikstudion (EMS) Stockholm, Knobs Electronics, Melbourne Electronic Sound Studio (MESS), National Music Centre (NMC), Swiss Museum and Centre for Electronic Music Instruments (SMEM), & Willem Twee .

In addition to all of this, a side-career working in Music Distribution (first apprenticing at Forced Exposure, then running Mimaroglu Music/Sales, Broken-Music, & now Alpha State NYC) as well as ongoing research projects into the deepest recesses of Early Electronic & Experimental Music (most famously materializing as Creel Pone) & their associated radio programs on Montez Press & The Lot has kept me busy. I’ve been commissioned to write articles & essays on topics ranging from Ambient Music, to the “Ghost In The Machine” phenomenon, to figures such as Roland Kayn, Harry Bertoia, and Don Buchla & Pauline Oliveros. I’ll field the odd request for audio post/production work, beta testing & music hardware/software consulting, & Shopify development as well; anything to stay busy.

After winding down activities considerably during a domestic sojourn to Australia & the near-contiguous pandemic, I have resumed fielding offers to travel. Please get in touch if you have something specific to propose; I’m all ears.