A sampling of musical projects I have been involved with: Bell Orchestre, soundtracks, contemporary dance performances, etc.
This is a string quartet piece I wrote for an experimental film I directed. It was made in collaboration with my fearsomely talented friends, The Callino Quartet, at the Banff Centre for the Arts.
For this film I directed, set in a dystopian future, I imagined the kind of music that a girl might listen to escape on her headphones, but with a modern griminess seeping in. I play piano and trumpet on it.
A piece I composed and recorded with Andres Vial for a contemporary dance performance by Meena Murugesan. It combines electronics, prepared harpsichord, bits of Skype conversations with Meena, and traditional Indian instruments.
I needed a dark, clubby, but still hopeful feeling for the climax of my film Dive. I worked with electronic music wunderkind Greg Dibecki to find the sound: warped R&B vocals, minimal beats, and random shots of noise.
I worked as producer/engineer/horn player/keyboards/arranger on this beautiful-angry-dancehall-jazz collaboration with Jamaican-Canadian artist Naila Keleta-Mae and some great musicians from the Kalmunity collective.
Another collaboration with Naila. This time a song in Jamaican patois about a young woman trying to give herself an abortion. It’s got a really cool and unusual dancehall groove played on brushes beat courtesy of Jah Sun Promesse and Neil “Bassone” Benskin. I play keys and horns on it.
The cue for a montage of 1970s skateboarders doing their thing (Tony Alva, Jay Adams, etc) on some huge pipes in the California desert. With Andres Vial.
The title sequence for a documentary called “The Best of Secter and the Rest of Secter”, about Canada’s first iconic gay filmmaker. I was really into the sound of 1960s Brazilian female vocalists at the time and found a fantastic muse in Mariana Gianelli. I play bells and flugelhorn on it.
Wanted to get an old school NY feel for this one so broke out some old DJ Premier for inspiration. Still sounds so good. I programmed the beat, played keys, and did the scratches.
I wrote this moment of reflection for the end of the film, when the protagonist is hit with some bad news.
A dense beat for a cue in a manufacturing plant.
I reimagined our song Quintet on a melodica, trying to use breath to create a feeling of granular synthesis. With Richard Reed Parry.
The history of cotton production is pretty dark, from slave plantations to modern sweatshops. It felt like a dub groove was called for, so I worked with my old friends Jah Sun and Bassone, who killed it as usual.
A groove inspired by minimalist Japanese hip hop.
A summery Wurlitzer and fluegelhorn cue for a sequence on Coney Island.
A dubsteppy cue for a fashion show. Samples of traditional Bulgarian and Lebanese music.
I was in love with a Juno-106.
A synth-heavy groove for the insane factory where T-shirts are dyed.
A dubby, pensive cue for an eccentric photographer about to get evicted from his building to make way for tech companies.