The piano has a special kind of resonance. Notes and harmonies are able to blend together and create a blurry, almost hazy effect. Sounds also have a unique characteristic of fading away on the piano. Sounds disappear. When I write for the piano I try to embrace this particular aspect. My synesthesia also guided my ear in writing Blue Inscription. The writing is lean and transparent; this allows us to clearly hear the fading away and blending of notes, like vapors that hover for a moment and then drift away.

It had become about the physicality of playing an instrument and the animal nature of creating a sound and only then after; its relationship to composing a work. Various kinds of bodily experiments took place at the piano; screaming, dancing, grunting, nudity and auto-eroticism. How do I record the immediacy and violence of an improvised gesture? Notation..? Here is an “analog” of the sounds I was creating in the heated moment. A Chaos Analog. It is as Gilles Delueze says, an "analogy (resemblance) that is produced by non resembling means".

Brontal No.2 “Holiday” was composed for Red Light’s annual Holiday Gala. The work is a collection of differentiated fragments whose orderings are continually shuffled. The piece also focuses on the piano’s special ability to let sounds decay into silence.

Written over the course of one day, November 29th is a poetic snapshot in a sonic diary. Lasting only 2 minutes, the piece leaves a fleeting impression and in many ways is clearly reminiscent of Debussy. There are three main phrases that repeat, each one returns slightly different each time.

The word Brontal is the adjectival from of the word brontosaurs.

The word "Wryd" (weird) is an old English word meaning "from the future" or more literally, "that which turns out, that which comes to pass".

The right eye represented the sun. The mirror image, or left eye, sometimes represented the moon. The work is composed for two vibraphones, gongs, temple bowls and drinking glasses. The sounds evoke, what is for me, a song that appears only in dreams or at the limits of perception.

A series of 17 short movements creating a mobile form. The players create a "version" of the piece by arranging and playing the movements in any order, repeating and omitting movements as desired. The movements are linked together by a diffuse network of self-similar musical material.

Natacha: “…a strange synthesis of schizophrenically sourced sounds, surreptitiously settling cerebrally in the soulful center of solemnity and frivolity…”. Scott: “I would call them 'secret' and it's about how they are constructed…I had this strange conceptual synthesis of how a machine would be personal to the point of a secret, almost something naughty...”. Secret Machines are a series of pieces based around the idea of schizophrenic musical flows cut and connected together to form little musical machines.