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A resident of NY, I am a published artist, writer and maker of short collage-films.Please google my name for links to both my work and available merchandise. In addition to instruments and sounds recorded around the house, all music from "Whispers of Arias" project ("Rings", "Danny" etc.) courtesy of Kevin MacLeod and his glorious royalty-free site, Incompetech.com.Should you be interested in collaborating, covering material or even helping me get it on a label for distributing and sound quality, that would be great: Thank you.
It is odd to find myself creating this page for music since I mainly think of myself as a
mixed-media artist who is also a published writer. Not having a musical background for composing, please consider this page about projects-in-progress. The songs for the particular project, "Whispers of Arias" come from a poetry manuscript "Arias, Monologues & Mad Scenes", and it has been my hope over the years that others might take an interest in performing them. As the saying goes: hope springs eternal. Again, musically, I'm not really a composer/arranger but more
of a "lyricist" who, as hip hop artists do, sampled music, sound effects & instruments played around the house, in attempts to create songs for my voice. When it comes to others adapting these works I think of them as templates/palettes to be made use of. My sense is that choral groups/solo artists, (actors & actresses even), and those who work with them in an arranging/conducting capacity, have the best feel for what songs/words, lyrically, establish the groundwork of creative affinity. I like the idea of letting the artists who are doing the interpreting to have as much freedom as needed to play and use the material to pitches of emotional resonance which can do the greatest good.
Jonathan Penton from Unlikely Stories writes:
It's appropriate that Stephen Mead has named this double-album Whispers of Arias, because despite the layered, operatic music and big dramatic themes, these recordings, ultimately, sound very little like arias: The vocals are so tortured and quiet that one can't help but think of a ghost in a symphony hall, desperately trying to impress something upon the listeners, something dire, something unbelievably tragic. Stephen Mead sings his poems over Kevin MacLeod's complex and sophisticated classical intepretations, and the effect is transformative—on the rhythm of the poems, on the meaning of MacLeod's recordings, and ultimately, on the listener.
radiowildfire.com writes: Stephen's work with voice and soundscape continues to intrigue us and, we think, set a benchmark for recording spoken word.