Original musical score composed for a 1912 silent, animated short by Ladislas Starewicz
Performers: Felix Obelix (piano), Josh Starmer (cello), and Missy Thangs (organ)
Performed live in June 2014 at the Strange Beauty Film Festival, Durham, NC and at the Cat’s Cradle Back Room, Carrboro, NC
Thank you to the Strange Beauty Film Festival for inviting us to do this performance and to ISLAND’s Hill House residency program (now the Crosshatch Center for Art & Ecology) for granting me the time and space to compose this score.
Original musical score composed for a 1912 silent, animated short by Winsor McKay
Performers: Felix Obelix (organ/xylophone/aux percussion), Billy Sugarfix (xylophone/glockenspiel, aux percussion, slide whistle)
Performed live in February 2014 at the Strange Beauty Film Festival, Durham, NC
Thank you to the Strange Beauty Film Festival for inviting us to do this performance.
Original musical score composed for a short film by Malic Amalya
Felix Obelix: Acetone Top-5 organ performance with pre-recorded percussion backup track
Performed live in 2011 at the Nightlight in Chapel Hill, NC, and at the Strange Beauty Film Festival in Durham, NC
Thank you to the Strange Beauty Film Festival and the Nightlight for inviting me to do these performances.
About the film (from the filmmaker): Shot on an optical printer, damaged frames from 8mm home movies have been re-photographed onto 16mm film stock. By exposing the photographic anomalies of film, Drifting allows the audience to savor the photographic physicality of the media, while also asking them to consider how framing mediates their viewing experience and understanding of images.
Original incidental music co-composed for a play by Tom Nolan and Toby Webster
Co-Composers/performers: Felix Obelix (bass), Idan Brutman (keys), and Rick Leigh (flugelhorn/trumpet)
Performed in February 2016 at The Winemakers Club in London, UK
This is a brief rehearsal video. During the play, Rick and Idan were seated on stage with the actors, while I remained on the floor of the stage as a representation of the dead—well, I’ll stop here to avoid spoilers. Suffice it to say, I am on the floor for a theatrical reason.