Available on Vinyl
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I have long been fascinated with the way Space and Sound can influence one another. In particular, the way a location (be it a cave, a forest, or a building) quite literally shapes the sounds that are created in their vicinity. I have spent years exploring sounds within natural environments as is documented on my 2011 album Wisp. But what I was really looking for now was a way to explore sounds within the context of architecture. Many artists have explored this territory, and there are some great albums available that truly express architecture through music. In my opinion, three of the finest examples of this expression are Paul Horns Inside (Taj Mahal), Eugene Friesens Sono Miho, and Michel Godards Castel del Monte. In each of these albums the artist had the opportunity to experiment and collaborate with a particular building through the medium of music.
These thoughts were in the back of my mind when I first entered the Sears Crosstown building in 2011. At the time I was mostly excited to finally enter this mythical building of my hometown. Having grown up in Memphis, TN, the Crosstown building was an icon that I watched (albeit not consciously) slowly deteriorate from a vibrant distribution hub of the region into a forgotten and overlooked ghostly shell. Within minutes of entering the building, I realized that I had found not only a haunting, stark space, but also one that was crying out for musical expression. While inside the building, I put a shakuhachi (Japanese bamboo flute) to my lips and gently blew the first note of many that I would play within this wonderful building. As I stopped playing, I listened to the building play the note back to me for a full seven seconds. In those seven seconds, I knew that I had found a building that I would experiment and collaborate with through the medium of music...