The Contemporary Classical Composer's Bullshit Generator
My work is, in short, a re-imagining of the 'Expressionist-studies' school of contemporary 'conflict-linearity' composition. Unlike traditional fundamentals, I aim to develop tone-rows, including a highly operatic framework that transposes all notions of graphic substances. I coined the term 'expression-polyphony-music' to describe my most radical approaches to structured composition. The recording is the single most important element in any polytimbral composition, and my own work seeks to explore (and repeat) this in the context of 'instrument-notion-installations'. The most important tip I can give anyone is this: Never sense provocative intricacies; rather, endeavour to oppose your tensely-discontinuous instruments. I have always been fascinated by the aerophone of oscillations, which has led me to re-bar the use of 'idea-novelty' and distorted soundscapes alongside recreating the boundaries between installations and reverberations.