I really enjoyed working on this documentary from Chris Stanford and Zach Wolfe titled Better Man. These guys are incredible storytellers and fantastic filmmakers.
Here is a new audio visualizer for The Red Shift.
This is a long-form piece from Centaurus A (2015) that mixes orchestral and electronic elements. I'd been pushing myself to work up more long-form content since I'd been immersed in music for advertising for a few years. In advertising, everything is short-form.
Gamelan music (native of Indonesia) is some of the most strangely dreamy and weird music out there. It has a dark beauty to it but it can also be a bit chaotic and unsettling. I have to thank my friend Tyson Farmer for introducing me to it when I was about 18 years old. I've been listening to it ever since. I got my hands on some Gamelan sounds so here is a sketch called Baliwhoo.
This is the second Gamelan piece I've written. Jeremy Gilbertson and I also used Gamelan sounds for a nightmare sequence in the short film The Eternal Youth of Everyone Else.
Here is a new audio visualizer for Caught In a Loop.
This was a fun Super Mario Brothers inspired sketch. Total 8-bit junk food. I'm going to do more of these and I'd eventually love to do a long-form piece in this style.
I'm thrilled about the awesome write-up from RJ Frometa (@rjfrometa) and the premier of the Life on Earth video in Vents Magazine!
PREMIERE: Producer/composer Jason Todd Shannon explores the intersection of Art and Technology On New Music Video
Read the article here: http://tinyurl.com/ya7nf3ab
I've been listening to some early 20th century military band/orchestra music. I bought a record of John Phillip Sousa marches played by the Eastman Wind Ensemble. There is such interesting structure in the music. Wonderful moments of melodic chromaticism. I decided to try my hand at a few sketches. There is so much to learn from this unique and complex style of music.
Aaron Copland has been on the turntable and in my running mix this week. Here is a quick sketch playing with some sounds inspired by the man who invented, among so much more, the quintessential sound of the American Plains.
2016 starts with a challenging read, and one that I’ve put off for some time.
When I was researching this book, I discovered that one of his students wrote an alternate condensed version, removing all of Schoenberg’s colorful rants and emotionally-charged discourse on musical aesthetic. In other words, he removed the good stuff. This book was originally published in 1911, at the same time Einstein was working on The Theory of Relativity. I can’t help but draw the parallel as this being somewhat of a musical equivalent. The musical unifying theory of everything, though I'm sure Schoenberg would have plenty to say about that description. This book is expansive and imaginative and unlike anything that had come before it in musical literature. Schoenberg comprehensively presents the prevalent rules/theories while exposing the often flawed foundations and contradictions upon which they were built. He spends an equal portion of his time discussing the things that are unexplainable to those that are explainable, and for that reason I cherish this book.
All of the Wes Anderson films have such a distinct musical signature, whether it is the incredible work of Mark Mothersbaugh in Rushmore or The Life Aquatic with Steve Zissou to the Academy Award-winning work of Alexandre Desplat (Fantastic Mr. Fox and The Grand Budapest Hotel). The scores to his films are always fun and rich with texture. I've spent a lot of time with the original scores to Rushmore and Fantastic Mr. Fox in particular. Here is a quick sketch titled Who Ate My Porridge? - with a definite nod to some of my favorite quirky, fun and whimsical scores from the Wes Anderson school of film scoring. Special thanks to Clif Wilson for his work on the banjo.