CURRENT ERA (2020–present)

1. Singing Is Contagious EP, released Dec. 4, 2020

The Singing Is Contagious EP was my return to releasing music after six years of silence: a searing fusion of modern progressive, post-punk, and ambient drone.

Driven by disarming poetry and sung and spoken-word vocals, Singing Is Contagious is a visceral plea for honoring our common humanity and learning from one another, beyond the received ideas and prejudices that alienate and wound us.

2. “Respire” single, released Mar. 12, 2021

My second release of the COVID-19 pandemic was “Respire.”

I recorded “Respire” in 2014 as a way to rediscover my own breath. I sang in falsetto with a resonant space in my mouth but lips closed and vibrating slightly. I was inspired by how Arve Henriksen makes his trumpet sound like a cooing voice. I tried to do the opposite: make my voice sound like a gospel-inflected cousin of a trumpet, theremin, or flute. Doing so got me out of my own head and into my body. Then I brought in the accordion, which also breathes: vibrating chords and the simple pull and push of air.

I put the resulting piece away for another time—until the pandemic, when I returned to “Respire” and finished the mix. So many have suffered, struggled to breathe, and lost their breath entirely to COVID-19. “Respire” reminds me to be grateful for my breath and all that might flow from it. May you, the listener, breathe easy and be well.

3. This, Too EP, released July 16, 2021

My third musical release of the COVID-19 pandemic, This, Too, plumbs the joys and vulnerabilities of interpersonal connection and commitment through a fusion of art-rock and pop, neo-classical, field recordings, and found sounds.

Across three vocal-driven songs and four instrumental miniatures, This, Too digs into the difficult but essential work each of us does to accept ourselves and cherish those we love.

4. CYCLESPEAK, Volume 1, released Oct. 3, 2022

Inspired by artists like Toshimaru Nakamura and Sarah Belle Reid, I turned to the no-input mixing board in the hope of discovering new musical possibilities for myself.

The process of listening closely and coaxing voices from the mixing board, learning to respond to its calls, and collaborating with it through shared expression is deeply meditative for me. I especially appreciate the playful tension between the mixer’s beastly unpredictability and my songwriter’s-ear for narrative and hook.

CYCLESPEAK, Volume 1 is my first collection of works using the no-input mixing board. It won’t be the last.