The Contemporary Classical Composer's Bullshit Generator

One of my most Romantic influences is the concept of incorporating synthetic sculptures, which integrates my illusion and causes my collaboration to become somewhat heterophonic. I was first introduced to the concept of 'atonally-post-serial idea-linearities' last year, and it has allowed me a greater depth of inventions, especially whilst exploring the ultimate reverberation. Recently, I have started to embrace collaborations as a strongly-sonic alternative to established forms of post-Stockhausen colour-canons, which has made my work theatrically intellectual. In my most recent work, transformations, chords and abstract pitch-classes are all used within spatially-meaningful synergies, allowing the audience to transpose a variety of conceptual tempi. In short, the space must never examine the choreography. As a primarily electronic artist, I aim to integrate the analysis within microtonal-intervals, and bring forth a single idea that really opposes the most experimental issues.