Ryan Dignan and I collaborated on the soundtrack for Megan Griffith’s first feature, a romance that takes place in a school of cosmetology in small town Idaho. Ryan and I split some of the work up at times and pitched in together on others. All recorded in one marathon session in a friend’s basement on a borrowed ADAT!
My brother’s second feature film was more serious and surreal than its predecessor with a more fleshed out story and stylized look. The heightened visual impact made scoring much easier, and we both became very passionate about which music should go where. Many scenes had more than one “solution” from a compositional sense. In the end some music written was set aside in favor of other pieces which fit better the action better. As a result, many “bonus tracks” from the Urban Scarecrow score exist.
This reviewer loved it.
Here’s some of the music I composed for Urban Scarecrow:
Having cranked out a few beautiful little numbers for a film he had in mind, my brother Andy hit me with the script for his first feature film, Shag Carpet Sunset and asked me to score it. True adulthood was just beginning to appear on our horizons so the film’s references to our childhood which are strung throughout the plot devices killed me. Bravely made in Seattle as the city too was transitioning from its own sleepy, maritime adolescence.
This music would not exist with out the help of my good friend Neil Wilson. His awesome drumming can be heard throughout the soundtrack.
In 2004, I was invited to participate in the Big Sur Experimental Music Festival’s Sound Shift piece, and had no solo albums to bring. I had group recordings where my out-guitar voice occasionally shone through (DAE mainly) but had nothing to say ‘here’s what I’m doin’. With this gig as goal, I set my mind to channeling my recent software experiments, my film work, and my love of Fred Frith and Hans Reichel into a focused release. I gave a few concerts (audio below), playing improvs crafted with my software I dubbed ‘the glitchy delay’. This software was inspired by Scandinavian minimalist electronic stuff I’d heard on the Komplott and Fukkgod netlabels – I was particularly taken with Tsukimono.
At any rate, the pieces on the album quickly found their way into two scores I was doing: one for Brandon Schmid’s Taos. I pressed a few hundred, sold them, and got on. Still available at Cd Baby, as well as iTunes, and remixed/sold as “Listen Faster – Alkaline” when Wizard Prison opened for Animal Collective.
Have a listen:
..and the followup, Nazca Aerial:
Back in 2008, I was blown away by a show of Inuit art at Arizona’s Heard Museum. I found it VERY liberating and inspriring, and it led me to form Tuktu.