Custom built double neck guitar by Miroslav Tadic with custom pickups by Derek Donley. Designed as a hybrid instrument that can act like a down-tuned six string cello or a standard guitar. The solo R/S was written for this instrument, and it has also become my primary instrument in KillDry.

I played electric guitar on this recording of Katharina Rosenberger’s Modules with wasteLAnd

Performing Katharina Rosenberger’s Spuren for two electric guitars and orchestra with Mak Grgic and Kaleidoscope Chamber Orchestra (photo: Kat Nockels)

I recorded this improvisation for Katharina to use at the end of the album

Mattie Barbier has been one of my closest collaborators in the last decade. This piece that Mattie wrote for me is such a joy to play. Each time I’ve played it, I’ve used a different instrument and a different tuning system to find my way through the textures in a new way.

I have known Michelle and her music for the last decade, and have worked closely with her music as a conductor, guitarist, performer of objects, recording and mixing engineer, listener, and observer since 2015. I can’t think of another composer whose music gives me such a similar experience regardless of how I am engaging. Whether I’m performing or listening, I experience a heightened awareness of physical existence. Something about the music makes me feel aware of my nervous system. I question myself, my instincts, in ways that I’m not used to. I am conscious of both the mechanical and organic aspects and am unable to stop questioning which is in control. The sound worlds created often include absolutely stunning and otherworldly textures and sonorities. Sometimes the music feels like it should be meditative, but it isn’t. There is too much to observe to be able to meditate. There is too much that is “wrong” with the situation. Her masterful control over the combination of electronic work with acoustic performance is simply mind–altering.