David Seidel is a composer and performer (aka mysterybear) from the United States. He was born in Hudson, NY in 1958. He has received his B.A. (in Music Theory & Composition) from Simon’s Rock College in 1978, studying with Larry Wallach and Thom Lipiczky. Studied classical guitar with Edward Flower. As a guitarist, was part of the Downtown NYC new music scene in the 1980s. Performed and recorded in ensembles led by composers Lois V Vierk, Scott Johnson, Guy Klucevsek, and Bill Obrecht. Co-led the band People Falling. Premiered the electric guitar version of Lois V Vierk’s 五 Guitars (Go Guitars) for five microtonally-tuned guitars, live and on Simoom (Experimental Intermedia CD, 1990), and recorded Vierk’s Red Shift on River Beneath the River (Tzadik CD, 2000). Appeared on Klucevsek’s Flying Vegetables of the Apocalypse (Experimental Intermedia CD, 1991).
Seidel have performed in a wide variety of venues, ranging from night clubs (CBGB, Mudd Club) to downtown performance spaces (The Kitchen, Dia Art Foundation, Dance Theater Workshop) to concert halls (New York’s Alice Tully Hall, Minneapolis’ Walker Arts Center) and at several new music festivals (New Music America in Los Angeles, Bang On A Can in New York, and Styrian Autumn in Graz, Austria). Since 2004, focused on the composition and performance of electronic music, usually with a microtonal and/or drone basis. Festival participation includes Electronic Music Midwest, SEAMUS, North Country Electronic Music Festival, XFest, and PVDLoopFest. Now living in Peterborough, NH (US). About the Project: On July 2023, Ehsan Saboohi, Composer and the Post-Orientalism music theorist published his theory revolving the significance of the bass line in the methodology of Post-Orientalism music with his twenty four bass compositions for a sine wave on Noise à Noise, which was an unprocessed set of sounds. Listen here: noise-a-noise.bandcamp.com/album/music-for-black-sine-wave Saboohi invited his colleagues from across the disciplines of art (Music, Painting, Cinema and Literature) through open-calls and friendly invitations for freely developing pieces with his bass lines.
“I used a modular synth to create a system that takes incoming audio and transforms it with waveshaping and other means, and then uses the transformed signal to hard sync to two digital oscillators, each of which is effected and modulated in multiple ways. All the modulation sources in the system are running independently or are cross-modulated, with no synchronization, mostly originating from random and/or chaotic signal generators. The result takes Ehsan’s austere monophony and transforms it into a distorted and ragged three-voice chorale. The mangled version of the original audio is heard in the center of the stereo field, and the two resultant voices are panned left and right. To make this recording, I played back the entire playlist of the original Black Sine Wave tracks from my phone into the system, and recorded the output directly to stereo in a single continuous take with no intervention from me (except for one track that needed to be re-recorded due to a computer issue). I mixed and mastered the recording with some added reverb, then broke it up into individual tracks”
September 17, 2023 *