This month’s podcast marks a decade of Errant Space podcasting!
I’ve dug into the archives and found some rare or unreleased bonus tracks to celebrate.
It begins with a piece for piano and percussion by Peter Fagiola that features some guitar atmospherics by me (Craig).
Next some recordings made with DavidRothenberg at his Bee Street studio (that’s what I call it. May not be its actual name.) David plays clarinets and synthesizers, I’m playing guitar.
Then we have a dub experiment with Bastian Void (modular synths). I put on my Errant Bass hat for this one.
That’s followed by a remotely recorded collabo with the incomparable Walter Wright on drums. It gets rowdy!
After that a duo recorded at Neil Alexander’s studio where he experimented with live processing grand piano, in preparation for the 100th ES podcast performance.
This month’s podcast is a behind the scenes peek into how I prepare for a show.
For a solo electronic performance I need to devise a system to improvise with that will produce (manageable?) unexpected results that I can respond to. (When improvising with other musicians, this takes care of itself.) In this case I had in mind creating a fairly minimal, droney, textural soundscape so used the Strega, which is excellent for drones and the Wingie2/Blippoo Box which is a great source of randomness. I also incorporated some field recordings for additional texture (played on a Kaoss pad), and harmonica to add an element of breath. Everything could be sent to an Eccos delay in sound on sound mode via an effects send to create slowly evolving/dissolving loops.
There are three improvisations presented here, the first two are me exploring strategies for the performance in my studio and the third is the final live performance recorded at Greenkill in Kingston, NY on January 13, 2025.
António Caramelo and me (craig) performing at Darc (photo João Paulo Daniel)
That’s followed by recording from a visit to the studio of Adriana Sá who played her custom zither. We were joined by her student Gabriel Worm on acoustic bass guitar.
Adriana Sá in her studio
Finally there’s a sort of hybrid field recording I made on the Alfa Pendular train; I improvised to the sounds of the train and passengers on the trip from Porto to Lisbon.
This was my recording studio on the Alfa Pendular train.
This month’s podcast features experimental musician Mathieu Sylvestre from Berlin.
My first meeting with Mathieu was recording for this podcast. I really enjoy getting to know someone by making music together and our collaboration turned out to be quite interesting. I play guitar for part of it and then switch to electronics. Mathieu works with looping, spectral processing, noise and field recordings, creating amazing textures. Right after recording for this podcast, we embarked on a 5 day tour in the Northeastern U.S.
Mathieu performing at Neverending Books in New Haven, CT
This month’s podcast features excerpts from four recent live collaborations.
It begins with a performance at XFest 2024 which features: Andrew Neumann (Buchla), Thomas Watkiss (bass) and Rachel Devora (french horn).
Next, some electronic sounds with Missing Channels, recorded at Quinn’s in Beacon, NY.
That’s followed by a performance with Irman at the Lace Mill in Kingston, NY.
And finally, a horizontal listening experience by Invisible Collage.
These performances are a good representation of the scope of the electronic improvised music I am making. One common factor of all four is the Meng Qi Wingie2 running the Blippoo Box firmware. Its a strange, chaotic instrument that I’m really enjoying.
That’s me at XFest, playing the Wingie/Blippoo Box. Andrew Neumann looks on, perturbed(?).
This month’s podcast is from a live performance with Space Biscuit (Matty Hutchins, aka DJ Buttermilk). We performed together for the first time in this configuration (me: guitar, Matty: synths) at Quinns in Beacon, NY where Matty runs a weekly electronic music series, Sleepwalking Through the Sun. Here you’ll hear some of the tastiest bits from that night.
I’ve lately been listening to some early electronic music: I love the abstract nature and pure tones of the pre-synthesizer era. Also, I recently saw the film Forbidden Planet, and its amazing soundtrack inspired this podcast.
I recommend listening to this one in the dark and seeing where the sounds take you.
I’ve long wanted to play in the Widow Jane Mine, and the experience did not disappoint! And performing with two amazing collaborators was a bonus. This is a binaural recording that really captures the ambiance of the space. Listen in headphones for maximum effect.
Playing in The Widow Jane Mine: me (Craig), Brian and Elizabeth. (photo: Tamalyn Miller)
This month’s podcast was recorded live at the first installment of the Noise Reduction series.
Its a collaborative improvisation with synthesist David Mason.
The performance took place in the rear chapel space of Prophecy Hall, a former Dutch Reformed church in Beacon, NY. Its an interesting space to create in, and I hope to do more there in the future.
The Noise Reduction series aims to provide a space for quiet sounds, where horizontal listening is encouraged.
David Mason and me (Craig) performing at Prophecy Hall (photo: Gavin Hecker)
