"It’s a beautiful recording, opening with snippets of broken whispers amid poised tones, and proceeding, true to its montage sensibility, through percussive experimentation, plectrum psychedelia, ominous drones, and otherworldly stasis." -Marc Weidenbaum, Disquiet

Read the full interview from the San Francisco-based ambient/electronica site Disquiet:
DANCE CAN’T BE STORED
disquiet.com/2013/05/01/peter-kirn-music-for-dance-2013

MUSIC FOR DANCE is a compilation of music I produced for choreographers, 2002-2011. I've recomposed these materials into a continuous musical soundscape. It's a new narrative that's independent of the original works, but inspired by the connection to these collaborators.

I realize looking back at this work that it represents a chapter in my life, living in Manhattan and working in computer sounds in live, improvisatory contexts, challenged and transformed by the experience of space and time found in the modern dance scene there. Now, looking back on those nine years in New York City takes on a special meaning.

I want in particular to recognize the long-term collaborative relationships I had with two choreographers and fellow Sarah Lawrence College alumni, Kathy Westwater and Christopher Williams. The sound materials here come largely from work for Kathy Westwater, especially her Dark Matter series, along with works completed with Christopher Williams, Elise Knudson, and Pauliina Ailennoinen. The sounds are synthesized or heavily digitally processed, with only momentary incursions of sampled and found sound, including a brief interludes of my own vocals and processed flute/vocal sounds recorded with the talented Margaret Lancaster.

Venues included Dance Theater Workshop, 92nd Street Y, Boston Cyberarts Festival, Joyce SoHo, and others. Thanks to John Yannelli, Sarah Rudner, Dan Hurlin, and Emily Devine of the Sarah Lawrence Dance program.

In memory of Viola Farber, who helped launch me on this journey.