Country Boy Country Dog (Lovely, 1994) contains excerpt from
How To Discover Music In The Sounds Of Your Daily Life (1967-92),
a 25-year project that blends environmental sounds, electronics and acoustic
instruments by processing the former with the second to produce the score for
the latter. Specifically, the found sounds used in
Country Boy Country Dog are used to create "transforms"
(A Dream Without Images, X Marks The Spot) that are then used
for orchestral pieces such as the CBCD Variations.
So the score is basically an algorithm that prescribes how to eventually create
We are thus led from a delicate dance of timbres in
A Dream Without Images
to the thick collage of "found" sounds and voices of
Country Boy Country Dog
to the eerie alien soundtrack of
X Marks The Spot.
Like any true artist, however, Tyranny reaches for the heart, not only the mind, through the tender and solemn electronic hymn of
The CBCD Intro (1984) with its grand
recurring motif, and the delightful, dissonant, disorienting
CBCD Variations (1980)
for soloist and orchestra, one of the crowning achievements of his career.
schizophrenic babble of our lives becomes order and beauty; the acoustic
instruments and the electronic drones generate free-falling harmonic masses
that collapse into nothingness.
How To Discover Music In The Sounds Of Your Daily Life represents an
impressive merge of chamber, dissonant, concrete and tonal music.
Duets I+II; Decertified Highway of Dreams I-III; Isle of the Rose Apple Trees I+II (OO, 2001) collects a few assorted works.
Go Blue (O.O. Discs, 2001) collects several compositions of different
Other compositions include several dance pieces,
Stars Over San Francisco (1972), that pioneered the technique of melodic transfers within a closed loop;
The CBCD Concerto for Soloists and Electronics (1980);
The Driver's Son (1989) for voices and orchestra;
The Forecaster (1989) for double orchestra, decoding chorus and time-transposing pianist;
Sleeping Beauty in Camouflage (1992);
Take Your Time (Lovely, 2003) is a collection of relaxing, ethereal
Erik Satie-seque compositions, only occasionally enhanced with the computer.
The Somewhere Songs (Mutable, 2008) compiles two works:
The three Somewhere Songs (2001)
for improvising baritone (Thomas Buckner) and vocals-derived electronic
accompaniment (that maintain a crystalline sound quality and an impeccable
The Invention of Memory (2003) for baritone, string ensemble, guitar and
piano, a set of variations on a "reference song", Now Minus One that is subjected to
several different methods of processing (similar to the way a past memory is
recalled differently over time).
Detours (Unseen Worlds, 2012) collected four piano works,
notably 13 Detours (12:15),
George Fox Searches (19:26) and
She Wore Red Shoes (11:27).
Trust in Rock (2019) documents a live performance of 1976.
An ensemble with Gordon on sax and synthesizer, Tyranny on piano, Patrice Manget on vocals, Carl Young on sax, Paul Dresher on guitar, Steve Bartek of Oingo Boingo on bass, Gene Reffkin on drums, and Janet Cuniberti on electronic keyboards plays straightforward rock songs (sung by Patrice Mange) with lengthy jamming codas such as
Without Warning (20:33) and
On the Other Hand (20:36),
as well as the decisively poppy
Next Time Might Be Your Time (9:04).
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