Tyondai Braxton, a New York-based composer who made his name with the
improvised digital/electronic tours de force The Grow Gauge (Loopchoir, 1999) and
History That Has No Effect (JMZ, 2002), that display his art of
"orchestrated loops" through which he manipulated voice and guitar to
create "orchestral" sounds,
but also indulged in avant-jazz excursions such as
Death Slug 2000 (Metatron, 2000), a duo improvisation with Jonathon Matis,
has composed the multimedia project N.E.A.R for chamber orchestra and two choirs.
He also plays in Battles with
Don Caballero's Ian Williams,
Helmet's Jon Stanier and Lynx' Dave Konopka.
Central Market (Warp, 2009), his first album under his own name in seven years, apparently inspired by Igor Stravinsky's ballets, offered
complex scores for synthesizer and orchestra.
Opening Bell mixes a Steve Reich-ian
repetitive piano pattern with exuberant neoclassical orchestration.
The Duck and the Butler does something similar on the comic front,
with a rhythm and a melody that evoke both Disney cartoons and Ravel's music.
The brief Uffe's Woodshop, is a breathless allegro of colliding folkish
and industrial themes.
The ten-minute Platinum Rows is a sort of post-rock symphonic poem,
a convoluted and tumultuous stream of consciousness with dramatic overtones,
and, overtly or not, reminiscent of
Frank Zappa's bizarrely postmodern orchestral music.
The nine-minute Dead Strings is a bolder statement, fusing
industrial noise and rhythm, ethereal strings and vocal effects towards
a small apocalypse of scratching and dissonance.
The one sung piece, J City, is an interesting experiment in
fractured funk-rock but probably belongs to another album.
The 42-minute piece of Hive1 (Nonesuch, 2015), the result of
two years of live performances, debuted a new project with percussionists and Ben Vida on sysnthesizers.
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