Interview › Future.
A few weeks into self-quarantine here in New York City & I’m starting to notice myself giving palpably wistful, rear-view-mirror glances when confronting documentation of even recent live performances. Working in dedicated listening spaces such as the A4 Priestor depicted in the video above (filmed during the wonderful NEXT Festival in Bratislava) is a complete soul-reset; nothing else comes close to the experience of entering a room for the first time, assessing the acoustics & infrastructure, then carefully building an evening’s entertainment within the confines of what it all can offer, all over the course of a few hours. That I have been invited to do this at such a fevered pitch for the past 20 years has been simply remarkable; the vast majority of the music I have realized in this span (and almost exclusively for the past 7 years or so) has been in the form of in-situ, personalized soundtracks for dedicated audiences.
I was really looking forward to a series of gigs here on the Eastern Seaboard this week & next that would have acted as something of a Spring-thaw after finally reaching newfound levels of stability in domestic life here in Brooklyn following our forced relocation back to the States, but they’ve all, naturally, been canceled. These were perfect, diverse bills, collaborating with & working alongside artists such as Kamran Sadeghi, Lea Bertucci, Ecstatic Music Band, Daniel Neumann, Charmaine Lee & Conrad Tao, & Cecilia Lopez, all of which have recent, excellent recordings (linked are Bandcamp profiles) & would certainly benefit from your time & attention, not to mention your resources.
