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In 2019 I visited the Greek island of Patmos and stood in the cave where John the Revelator is purported to have received his vision of the apocalypse. This visit—along with a dream I had the following night—inaugurated the Apokálypsi series of Spectral Mesh compositions.


In this series, recordings of Guy Lombardo’s Auld Lang Syne and Benny Goodman’s Where or When are layered 48 times and phase adjusted to create a “spectral mesh” of frequencies, taking the listener through the form while changing their relationship to time. 


I liken it to listening from some distant point in the future and feel it well captures the beauty and sadness of a transition from an Age of Humanity to an uncertain and perilous age to come. These compositions express for me the nostalgia and sweetness of what was, along with the pain of recognizing what has been lost.

Analog tape was used as the basis for these compositions and there are two versions of each—one for each of two different speeds: 30 inches per second and 15 inches per second.

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