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.
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 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)
This month brings the 100th Errant Space podcast!!
To mark the occasion, I organized a live event featuring eight past podcast participants which took place on July 1, 2023 at the Howland Cultural Center in Beacon, NY.
photo: Sandy Santra
It was a three hour performance with the performers surrounding the audience, who were encouraged to listen while horizontal. The musicians played in rotating groups of three. This podcast is taken from that performance.
These are the musicians who participated in the experiment:
We had a fair number of audience members come through during the performance, you’ll hear people moving about on the recording. For best results, listen while laying down, it will almost be like you were there…
This month’s podcast is a live performance recorded at The Friday Experiment at Gateway City Arts in Holyoke, MA. It was an interesting show – an evening of continuous ambient performances featuring Craig Douglas, me and Bonnie Kane. Our sets overlapped by a few minutes, so the end of one performers set would become the start of the next.
Presented here is my portion of the evening. I really like the shape of this one, it covers a lot of sonic territory. That’s why I’ve posted it unedited. Its a good example of what an Errant Space performance can be.
