I wrote Light Is Calling in my studio on Desbrosses Street in the days and months after September 11, 2001. I live close to Ground Zero, and I wanted to make something beautiful after witnessing something ugly and tragic. The piece juxtaposes the sound of an acoustic violin with warped electronic pulses played backwards.
Bill Morrison, with whom I collaborated on Decasia, created an accompanying film to Light Is Calling by reprinting and re-editing a scene from the black-and-white 1926 movie, The Bells.
In Idle, three violins play an almost-jig, but each violin plays just slightly after the one before, so that the dance becomes sweet and sour, a jig filled with dissonances and layered textures. Written in the same post-9/11 period as Light Is Calling and Tinge, it is accompanied by electronic loops that were created in my home studio on Desbrosses Street. ––Michael Gordon
I wrote Tinge during the same post-9/11 period as Light Is Calling and Idle. I wanted to cheer myself up and make some fun music, so I decided to work with loops of salsa bands, whose timbre I altered and harmonics I rearranged. I imagined that this fantasy salsa band was playing with a Baroque-inspired coterie of acoustic violins, and that together they played a strange type of hyper Baroque-salsa. ––Michael Gordon