ariadne.m.randall [ ~at~ ] gmail [ ~dot~ ] com

instagram – @ariadne.randall

ethereal realms: +̵͈͇̱͋̂̄͠4̸͈̟̬̦̃̓͌̔̒͠3̴̗͔̯̺́ ̷͎̀͠b̷̥̃̓͌͝e̶̠͑͐̅͊y̶͕͉̰̓͝͝o̵̩̗͗̀n̸̢̓̋̈͑̈ͅd̴͙̗̎ ̸͇͖͎̞̓̀̿̎f̵͉̮̟̠̙̉̕o̶̼͖̙͛r̸̥̗̝͛͑̓m̸͉͈̲͌̊͆̈́ͅ ̵͕̩̗͓̎́͒̑͝ạ̵̣͒̔̐͌̚ņ̶̥̠͖̥̃̉̏͘ḏ̸͕̅̂́̆̕ ̶̧̺̖̘̒̔̚e̷̪̲͓̭̳̋͐̾̒ṁ̴͓͎͈͕͛̈p̷̢̭̼̯̃͜ť̶̡̧̺̠͚̽̿̈́͒̚î̷̲͍̥͐͋̽͝ņ̸̝͗̈̓ė̵̡̨̥̳̂͝s̶̞̟̻̻̺̔̊͆̚͘ş̷͕̱͐̚

cv on request

🌹

I offer live and pre-recorded music to clients, as well as fully-scored ensemble music if appropriate, most recently for the Vienna Volksoper. My work for stage, dance, and screen has been heard in a variety of countries and contexts. I’m available to select artists as a touring musician or travelling engineer. I also offer sessions as instrumentalist, composer, and songwriter for an international array of artists in my cozy, sunny studio filled with instruments, tube microphones, and plants; it is suitable for remote recording.

For select students, I offer local and remote tutoring in music composition, production, improvisation, dramaturgy, sound art, and instrumental skills. I especially like to support LGBTQIA+ artists in their development.

I can provide parts, collaborations, or full compositions on a variety of modern, rare, and historical instruments. These currently include a modular synthesizer named Hilma af Klang, on which my last and next record were made; analog and digital synths; Machinedrum; 7-string bass viola da gamba; a rare, interwar upright piano which is currently the light of my musical life; a historical grand piano with Viennese action, which I can Cage-prepare or tune microtonally; spinet harpsichord; double and electric bass; drumset; a unique pipe organ built in the seventeenth and early twentieth centuries and easily tuned to new and old temperaments; transistor organ; voice; various guitars and amps; percussive oddities; advanced Ableton skills both live and in production; and a marvellous pump organ older than the state of California. Inquire for details and examples.

I like to work deeply with makers/choreographers/songwriters and my music always arises from the dramaturgical needs of the piece, spanning whatever genres or techniques are necessary. I have both classical conservatory training as a composer and extensive experience in the electronic, improvised, noise, club, and new music scenes; my years as a jazz drummer and pianist round out the available skill set. I particularly enjoy live scoring, and I’m familiar with dance, performance, and art culture both in the United States and Europe.

I make all sounds by hand myself or by recording other musicians and reject the use of sample packs, libraries, and emulations in my work. This isn’t ideological but rather experiential: I find that audiences respond to this handmade quality on a visceral level, whether consciously or not. I think this is because tools and market forces make sameness easy: thus music often becomes a generic sound-object. Anyone with YouTube, time, and a computer can make genre music, and generative computing will soon remove even those requirements. But I believe that people always feel the presence of a hand on a knob, the hair on a bow, the tip of a drumstick, fingers on a key, mistakes that give life, the air in a room, the grain de la voix. I like finding sounds that have never been heard before, strictly speaking, in the history of the world – and those sounds are out there to be found. Even if they’re small things in the end, discovery just feels good. It’s nice to discover them with others, too. (TL;DR – everything I make for my clients is unique to their projects and handmade; I provide bespoke wiggly air, not packaged blobs of sameness.)

If you’d like to stay up-to-date with my activities, I have a mailing list that I promise to someday use, once I finally conquer my fear of Sonichu and thus fully understand the Internet. Interested? Here you go.