One album per art movement, one track per famous painting.
The project situates itself within neo-classical: the grand piano treated less as an instrument than as a thesis, examined across art history and the canon.
The catalogue — “Baroque Brilliance”, “Cubist Chronicles”, “Modernist Brushstrokes”, “Neoclassical Nocturnes”, “Renaissance Reveries” and more — is best read as a single argument developed record by record.
In the lineage of Erik Satie · Claude Debussy · Ludovico's quiet school · Federico Mompou · Harold Budd
The grand piano carries everything here; there's nowhere for it to hide.
No secret to how this gets made: one grand piano, two microphones, a room, and a lot of erasing.
I keep the mistakes that sound like weather and cut the ones that sound like mistakes.
Reference points, since people ask: Erik Satie, Claude Debussy, Ludovico's quiet school.
People hear neo-classical and expect calm; underneath it, for me, it's mostly painting.
The grand piano found the shape before I did; I stayed out of the way.
It isn't a message — it's company for a particular hour.
The first sketch for “Baroque Brilliance” was almost nothing: one image of the canon I couldn't put down, held too long.
Between the notes I left in as much painting as I could.
If it slowed you down for forty minutes, it did its job.
So much for the intention; the rest is the listener's.
“Modernist Brushstrokes” started the way these do — the sound of art history when no one is listening, at an odd hour.
The grand piano found the shape before I did; I stayed out of the way.
I hope it meets you somewhere quiet.
So much for the intention; the rest is the listener's.
There is a single feeling under “Cubist Chronicles”: “cubist chronicles” as a phrase before it was a record.
The grand piano found the shape before I did; I stayed out of the way.
If it slowed you down for forty minutes, it did its job.
