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This suite of short pieces aims to juxtapose several different compositional styles relevant to the medium of electroacoustic music. Most of the source material is drawn from Allan Thomas’ Karanga Voices audio library, MTM’s open source samples, recordings of Kylie Nesbit’s bassoon and viola sounds, and recordings of local Wellington rock band Keller Kinder of which I am a member.

‘Another Day’ Miniatures was premiered at the Adam Art Gallery in Wellington at ‘Karanga Voices’ – a concert celebrating both the Karanga Voices audio library project of Allan Thomas (which documents New Zealand heritage in sound, after which the concert is named) and five generations of electroacoustic composers in Wellington.

• Killin: 'Another Day' Miniature; DATA files 

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• Anton Killin: 'Another Day' Miniatures 

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• Killin: A Priori; DATA files 

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• Dadson: Audible New Frontiers  Year: 2003 

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The term “a priori” in philosophy refers to that which is already known or presupposed before any kind of inquiry has taken place.

This piece organises vocal sounds into a specific trajectory and juxtaposes these sounds with electronically manipulated material and recordings of nature and machinery. I recorded speakers of various languages – Polish (Andrzej Nowicki), Japanese (Andy Tate), Russian (Liz Platova), French (Clare Tattersall), Luo (Beryl Matete), English (myself), Dutch and German (Duncan Nairn). These languages were ‘altered’ during the recording process to accommodate the trajectory (from vowel sounds to whole words to consonant sounds to percussive voice sounds to breath sounds) and thus, while the grammar structures of each language still inform the ‘words’ of its speaker, the original meaning of word-combinations is tainted and often lost.

Much of the electronic sounds were created from these voice recordings. Moreover, a lot of only subtle electronic embellishment was employed at times – an aesthetic decision that ‘holds back’ on many opportunities to modify sounds and thus foregrounds the inverted linguistic function of the spoken languages into a purely aural sensation by presenting the recordings as they are, often without electronic manipulation.

• Anton Killin: A Priori 

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• Killin: A Priori; DATA files 

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• New Zealand Sonic Art Vol II  Year: 2000 

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• Denis Smalley: Sources/scenes  Year: 2000 

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• NZ Women Composers Vol. 2 

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• Meridan: Selected electroacoustic works 1999-2002 

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• Lissa Meridan: Electroacoustic Works 

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• New Zealand Sonic Art 2000  Year: 2000 

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‘Catalogue with Analogues’ is a reworking of an untitled piece composed in 2000. The work’s primary layer of materials – the catalogue – is pure musique concrete, exploring the possibilities for a music of the ‘raw’. Relationships between objects in this layer are established analogically, by similarities both direct and indirect. These, along with a secondary layer of materials providing soft embellishments of the ‘catalogue’, are the analogues the title refers to.

• 4th Generation: Lilburn Electroacoustic Music Studios 

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The word “chimaera” has two definitions: firstly, an organism which consists of two genetically distinct tissues (in much the same manner as this piece); secondly, the creature of Greek mythology with a lion’s head, a serpent’s tail and a goat’s body – an apt metaphor for the strange half-worlds that are able to be realised through the techniques of electroacoustic composition.

• Mozart Fellows Concert 2007 - Vol. 2 

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• New Zealand Sonic Art 2000  Year: 2000 

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• Jonathan Besser: Danceabout 

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• decadence - celebrating 10 years of Besser and Bravura 

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• Dr Kevorkian & the Suicide Machine: The Ironman  Year: 2000 

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