Smother to Reignite

An important part of my compositional practice is melding concert music with electronic music both conceptually and formally. How can the intricate techniques involved in digital synthesis and audio sampling be translated into physical techniques that musicians can perform? Smother to Reignite ventures to answer this question by recreating three common techniques used in my electronic music: Harsh noise walls, audio stretching, and stuttering. These techniques are taken from the digital domain and reimagined using crackling noise sounds, dense improvisational textures, and hypnotic bouts of repetition. All three electronic techniques are based on the principle of sample flipping where a producer takes an audio source and changes it to create new musical meaning. In my music this is often done to the extent that the original audio source is completely unrecognizable and becomes fertile ground for new material. Thus, the name Smother to Reignite.