A musical work exploring a 20-note per octave micro-tuning. A work inspired by Andy Warhol and a study in percussion.

Sleepless Buffalo
24 Sept.'95 - Westcott. (for unreal orchestra*)
The first three parts of 'Why Buffalo?', started on the living room floor of the Gilmore family home while staying in Devon in '94. I
was under the mistaken impression that the name of their street was Springfield, to remind myself I remembered the band Buffalo
Springfield. A few days later, having started work, the name Buffalo kept coming up, but why Buffalo? The notes are based on a Schumann fragment found decorating the clock face in that living room,translated into 20-note per octave micro-tuning (fine-tuned by James Poke). The 'twittering' towards the end is in fact the sibilants from a hypno-tape for insomniacs.

wHolE
18 Jul.'96 - Westcott.
Inspired by the work of painter Andy Warhol, a reworking of 'RDC I.
2' ('93). The title is from the intro bit to the track 'Andy Warhol'
on the David Bowie album "Hunky Dory".

Lying Gods II
6 Jun.'96 - Westcott.
The original Lying Gods was created for 'Brush Work' ('93) from an
early study for 'Telling Fibs ('96) and 'Cold Gods' (an unfinished
piece last worked on in '95) but went unused. This is a re-voiced
return to the scene of the crime.

Sticky Buffalo
13 Jun.'96 - Westcott. (for unreal percussion*)
A reworking of 'Why Buffalo' material. When asked about writing a
percussion piece I produced this, dipping my toe into the sound world
of bangs and crashes.

Buffaloqqall
28 Oct.'98 - Pyhra.
A shameless CD filler (I like to fill up CDs). It uses excerpts from
'Sleepless Buffalo' and 'Powaqqall' a study for 'Fall' ('92).