Kultur Destruktif (2017)
Music still has a place in human's heart, but not in machine's heart. This work starts, ends, and evolves through human's intuition, that without ignoring the surrounding, is also eventually destructed by the machine.
Mata dan Senar (2015-2017)
The title literally means 'Eyes and Strings,' which represents the materials used to compose the piece; sound materials from the strings, and visual materials from the eyes. All sound from the instruments are amplified, live-processed, and diffused to a multichannel system. The audio signals are also used to trigger the video processing and spacing. The feeling of having someone watching the musicians from behind while performing makes the discourse somehow calm yet so intense. From the audience's perspective, the comfortable state of watching a performance on one direction to the stage is confronted by the sound spatialization.
Music, Female, Hipster. (2017)
This work is all about the recent nuance of my musical life. Coming as a composer, surrounded by hipsters, love drama, and art — also sometimes discreetly mistaken as technology and science. This work makes use of recordings from personal archive as well as a Signum — a device designed by Víctor Mazón Gardoqui. This 9-minute work presents an explorative and somehow distorted sonic discourse, insinuating the trend of sound performance these days — here, at least.
Mga Alon sa Batangas (2016)
A site specific sound installation intended to be presented by the beach. This is an impression from an all-night-little-talk with young composers by the beach of Batangas in the Asian Composers League 2015. This kind of talk recharges me to full.
A work for piano and trombone with wind chimes, composed based on a painting by Issay Rodriguez in the Manila Composers Lab on June 2011. Performed by Duo Amrein in the University of Philippines Diliman.