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John Hudak (1958), based in New York, whose first recording was the
cassette Brain Box (Korm Plastics, 1989),
is a composer whose work stands as a
synthesis of several schools of the avantgarde. In particular, his main
compositions employ minimalistic and subsonic repetition of
electronically-processed found sounds that result in a kind of
ambient music that feels like a living organism:
the lengthy suite
Pond (Meme, 1998), that uses underwater insects as its main source and
remains his most accomplished and "romantic" work, and
Brooklyn Bridge (Shirocoal, 1998), that uses noises recorded on the bridge.
Don't Worry About Anything (Alluvial, 1999), based on a message left on an answering machine, applied the same techniques to the human voice.
One of its movements (and several obnoxious remixes) appeared on the double-CD Helene Marie - Reinterpretations (Alluvial, 2002).
The continuous installation Facade (2000) made music from the image of a building as processed by a computer, music that changed slowly as the day turned into night and the shades darkened.
Hudak pursued his vision on
My Eye My Son's Eye (Generator Sound Arts, 2000),
Highway (Edition, 2000), based on noises recorded on an overpass,
Figure 2 (Intrasitive, 2001), a collaboration with Jason Lescalleet,
From Where I Am (2001), a 4-CDR set,
Tall Grasses (Digital Narcis, 2002), based on noises picked up among the grass;
while May Fifth (XZF, 2003) was a solo piano pieces.
For The Time Being (Cut, 2004) collects two studio collaborations
with Jason Kahn and Bruce Tovsky.
Pieces Of Winter (Sirr, 2004) is a collaboration with Stephan Mathieu,
a subsonic fusion of two previous recordings by each artist.
Room With Sky (Chaba, 2004), a one-hour track, was created by
manipulating Hudak's own voice.
Hudak's stream of consciousness has been reduced to a feeble flow of
ugly noise that varies continuously but only so slightly.
This is certainly not his most powerful work, and it is probably 55 minutes
too long (fives minutes of this demonstration would have been plenty),
but even within this self-indulgent framework Hudak proves how
creative and elegant his form of digital processing can be.
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