Exclaim!

Reviews are starting to come in for As subtle as tomorrow

Check out this one from Exclaim!

“Fans of the ECM sound will identify closely with the subtlety and thought that this music demonstrates, and hardcore jazz fans will just have to accept the fact that great music includes computers.”

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As subtle as tomorrow

Ergo’s fourth record, As subtle as tomorrow is out now on Cuneiform Records

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Sine Qua Non featuring Alicia Hall Moran at Fridman Gallery

I’m very excited to invite you to the third iteration of my piece Sine Qua Non, presented by CT-SWaM Spatial Sound Summer Sessions at Fridman Gallery, August 28, 8pm (performance) 29-30, 12-6pm (installation). Sine Qua Non is an electro-acoustic performance that transforms into a generative sound installation, with this latest iteration featuring singer Alicia Hall Moran, acclaimed for her work in Porgy & Bess, the 2012 Whitney Biennial, and collaborations with Bill T. Jones, Carrie Mae Weams and her husband Jason Moran, among others.

Friday, August 28: performance 8pm, 29-30: installation 12-6pm
Fridman Gallery
287 Spring St, New York, NY
facebook event page

In something like a Mobius strip of sonic ideas, Hall Moran is sampled and processed live by Sroka with a Max/MSP software instrument, her singing becomes her accompaniment and foil and the improvisation develops through electronic abstraction and acoustic response. As the physical performance concludes the sampled fragments slowly take over, and the computer performance continues to evolve via generative processing. Seven unique outputs of the Max/MSP instrument are each mapped to a separate speaker, immersing the gallery in an ever-changing abstraction of the performance over the following two days.

CT-SWaM Summer Spatial Sound Series
www.aliciahallmoran.com/

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talking stjörnur

This past September at the Arteles Creative Center in Finland I contributed sound to a site specific, light mapping installation by French multi-media artist Barthélemy Antoine-Lœff. Bart is a brilliant person, versed in sculpture, video, theater, digital arts, installation and co-founder of the Paris-based collective Iduun, and I hope we can collaborate again soon.

talking stjörnur – site specific installation from Barthélemy Antoine-Loeff on Vimeo.

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Get a clue

From Novembers NYC Jazz Record

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André Vida’s Moving Scores installation and performance

I was really thrilled earlier this year to be a part of saxophonist Andre Vida’s Moving Scores. The Wire published this wonderful video documentation of it on their site.
André Vida’s Moving Scores was an installation of films and animated musical notations that took place at Eyebeam space between10–13 April 2014 as part of The Tri-Centric Music Festival and Eyebeam’s CT-SWaM series. Over the course of three days a group of musicians spent time in the installation, developing their individual interpretations of the piece. The event culminated with a final long duration performance of Moving Scores on 13 April.

Interpretations by:
Sara Shoenbeck – bassoon
Christa Robinson – english horn
Loren Dempster – cello
Brett Sroka – trombone
Jay Rozen – tuba
Jordan Mclean – piccolo trumpet
Daniel Neumann – spatial reconfigurations
André Vida – C-melody saxophone

Video shot and edited by Ross Karre

For more information about Moving Scores contact movingscores@vidatone.com

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Musiikkia Brooklyn – Kalmaa

Finnish Kantele and Jouhikko player Rauno Nieminen and New York based composer and computer musician Brett Sroka have developed a new collaboration while Sroka is in residence at the Arteles Creative Center, in Haukijärvi, Finland. Through Sroka’s live computer processing of Nieminen’s music, the duo create rich tapestries of electro-acoustic sound, exploring Finnish music in new and experimental ways and finding commonalities of cultures, history and technology.

Sunday, September 8, 2014 4pm
Sorkkistentie 9
27510 Eura, Finland
https://www.facebook.com/events/812072608832427/817720708267617

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At last, Sine Qua Non, the page!!!

Greetings from Tallinn, Estonia where I’m presently an artist in residence at Ptarmigan. I finally made a web page for Sine Qua Non, the performance/installation that Carl Maguire and I premiered at Roulette earlier this year. Please have a look: sqn.brettsroka.com/

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Shirin Neshat & Cherubim

Not a collaboration exactly… My friend Sujin Lee (text, video and performance artist) put together this promo video for Iranian contemporary artist Shirin Neshat’s retrospective at the Museum of Modern and Contemporary Art in Korea and the opening montage features music from Cherubim’s show last fall at Spectrum.

You can listen to a longer excerpt here:

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The 2013 Sroky’s are in…

As some of you may know, in 1897 my great great great aunt Godzislawa, thrice removed, started the Srokasonic Awards as an excuse to go on a three and a half day bender and angrily rant about the invention of the Telharmonium.  So in that spirit, I welcome you to the 117th annual Srokasonic Awards (or Sroky’s)!

The Sroky for best drum solo of 2013 goes to Gerald Cleaver, for “Cracking Hearts” on Craig Taborn trio – Chants.  I don’t even know what that is, I think I heard some dried leaves crackling, some demolition happening in the next apartment, possibly somebody doing a slappy on a curb down the street, but all at once and coming from different directions.  Damn.  Listening to these guys play together is like trying to spy on a triple headed hydra through a prism. 

The Sroky award for baby making music from outer space goes to James Blake – Overgrown.  Stark, strange, sexy, a lot of soulful humming, I feel weird saying that. Really far out production, I keep coming back to this record, wondering how it’s even possible.

The Sroky for achievements in filial inspiration goes to Molly Drake. Wow.

The Sroky for music I’m most embarrassed to have enjoyed goes to Vampire Weekend.  It’s just embarrassing to like a band with such a stupid name.

The Sroky for diaphenous, blissful melancholy goes to this Skuli Sverisson & Oscar Gudjonsson for The Box Tree.

The 2013 Sroky for lifetime achievement goes to the Flaming Lips. Had they tried to continue recreating their biggest hit (which was “She Don’t Use Jelly” from ’93 and was performed live at The Peach Pit on Beverly Hills 90210) they never would have lasted 25 years. Their 13th record, The Terror, is a disorienting and aggressive trip. I’ve been a fan for like ten years and I’m not even sure how I feel about it, but I’m glad they’re still out there, keeping it weird for the rest of us.

Very honorable unmentionable in this category go to Sigur Ros, who are still kicking after almost 20 years with Kveikur, and the Necks, who have been mining the same territory for almost 25 years with their latest, Open, and somehow it’s still startlingly original. These guys have The Shining, go figure.

The Sroky for totally unbiased admiration of friends go to Andrew Mckenna Lee and his project The Knells, Kaoru Watanabe’s beautiful album, Convergence, of traditional and modern Japanese music with Kenny Endo, and Toby Driver’s 7th Kayo Dot record, Hubardo . The reason I live in a shit hole like New York is because I get to be surrounded with artists of this caliber, and even be friends with them. I feel like I know them better for having this magic jangle my earbones. I can only imagine what a complex, interior journey it was to have brought these to fruition and I’m grateful.

The Sroky for being down to make music at any time or place go to Yuko Pepe and Shawn Baltazor. Big respect and inspiration, glad to know you both. I loved making this music with Yuko, and not to worry Ergo has something coming too.

…and of course the 2013 Sroky for best song in a skate video goes to Bob Seeger – Night Moves, for Cory kennedy’s part in Pretty Sweet (at 0:11:47).  Plus, front half-cab to front feeble down a nine stair handrail… come on.

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