Author Archives: Todd B. Gruel

About Todd B. Gruel

A vertically enabled biped happily under the influence of 35mm film, 6-string guitars, and jet black cats.

Slow Heart Music ~ This Body Is Not Me

When was the last time we moseyed through a dream without a worry—when not bushy-tailed prey dodging Id-fanged phantoms stomping, snorting, nipping at our heels—or drifted through a dream without a fancy—when not some hungry hunter foraging for elixirs (sweet

Slow Heart Music ~ This Body Is Not Me

When was the last time we moseyed through a dream without a worry—when not bushy-tailed prey dodging Id-fanged phantoms stomping, snorting, nipping at our heels—or drifted through a dream without a fancy—when not some hungry hunter foraging for elixirs (sweet

Yannick Dauby ~ Wā Jiè Méng Xūn

What’s Amphibia Anura to some, is Salientia to others.  If the taxonomy sounds obscure, perhaps their common call may help: “ribbet, ribbet” (or “kreck-ek, kreck-ek,” depending on one’s field guide).  Herpetologists rejoice, sound artist Yannick Dauby’s frog-centric album, Wā Jiè

Yannick Dauby ~ Wā Jiè Méng Xūn

What’s Amphibia Anura to some, is Salientia to others.  If the taxonomy sounds obscure, perhaps their common call may help: “ribbet, ribbet” (or “kreck-ek, kreck-ek,” depending on one’s field guide).  Herpetologists rejoice, sound artist Yannick Dauby’s frog-centric album, Wā Jiè

Noon ~ Disquiet

America, you are fat, famished, and fleeting.  Now gloating, now moaning your cabinet shift—Earth’s mantle rumbling four letter words—are we consumed by an age of terror apprised of its errors?  Or are we gasping for air earned in appraisal of

Noon ~ Disquiet

America, you are fat, famished, and fleeting.  Now gloating, now moaning your cabinet shift—Earth’s mantle rumbling four letter words—are we consumed by an age of terror apprised of its errors?  Or are we gasping for air earned in appraisal of

Dan Joseph’s Electroacoustic Works: Birdwatching in Levi’s with John Cage

Who’s Afraid of Electroacoustic Music? prevails as the industry response to electronic-oriented works within the classical music world. When used as a tool by the daily consumer, technology stands unquestioned; but when used as a compositional method by the daring composer,

Dan Joseph’s Electroacoustic Works: Birdwatching in Levi’s with John Cage

Who’s Afraid of Electroacoustic Music? prevails as the industry response to electronic-oriented works within the classical music world. When used as a tool by the daily consumer, technology stands unquestioned; but when used as a compositional method by the daring composer,