Kid Millions 100 Disciplines

It started with an email to Adam Shore, the Red Bull Music Academy producer I knew from his time at Vice when he produced the Boredoms 77 Boadrum. I wanted to present a piece that was more ambitious than anything I had done before, but what I had in mind was quite simple. It was an idea; maybe one that wasnt particularly interesting in retrospect, but it was there. It would be a durational piece without much conceptual rigor but something would happen aurally. I was certain it would be worth hearing. Adam was intrigued by the idea. I sent him some demos of some stuff I had worked on with William Basinski, wrote up a few ideas and waited. A few months later Adam called me and told me that Red Bull had signed off on the project. I was terrified. Now I actually had to write a piece. I was faced with a full-on bout of impostor syndrome. Why did I say that I wanted to do this kind of thing? The original idea was so simple that I lost faith in it. It was time for something new. I started writing the piece, imagining a kind of rapid-fire, highly orchestrated percussion piece that would have elements of that original drone, but would include technical passages that would require trained musicians. After a month or two I was told that one of the most viable locations for the performance was going to be the Beaux-Arts Court at the Brooklyn Museum of Art, an absolutely stunning space in the middle of the museum with an immense ceiling, boundless sky-lights and a deco floor. Honestly, I didnt imagine that the venue would have any impact on what I was writing. When I arrived at the museum to check out the space and meet with the members of the Red Bull production team, the woman in charge asked me if I had thought about equipment for the event. I actually didnt know. I wasnt sure of the instrumentation yet I was thinking all the drummers would bring their own gear, but she urged me to rent all of the equipment. Assume you wont exceed the rental budget, she said. One unanticipated factor about the space that might have an impact on what I was writing? There was a natural 7.2 second reverb in the room. All my carefully crafted and detailed percussion parts would quickly turn into a sea of aural mush. I hated what I was writing anyway, so I just embraced the reverb. This piece was gonna involve large and slow gestures; something that I was more comfortable with anyway. So, back to the drawing board. I started working on the composition with my oldest friend, Brian Coughlin, the founder and leader of Fireworks Ensemble. Together, we talked over my ideas. Using a percussion reference book and Wikipedia, I started a list of pitched percussion instruments. Assuming that nothing was off-limits, I included 5 different sized timpani, an assortment of Thai nipple gongs, amglocken, crotales, vibraphone, tubular bells, pitched pipes, temple bowls among drum sets, cymbals and electric instruments. I also was listening to a lot of John Tavener and Anonymous 4, so

• Internal ID: JITRE
• Format: Cassette
• Handling Note: **Please allow an additional 72 hours for this item's shipment.**
• Released: 9/16/16
• Genre: Rock
• Format Detail: Cassette