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Links to previous PEK solo releases


Schisms (2020)

bandcamp
YouTube  
Evil Clown Album Page


Precendents (2020)

bandcamp

YouTube  YouTube  YouTube  YouTube

Evil Clown Album Page


Coefficient of Unity  (2019)
bandcamp
YouTube  
Evil Clown Album Page


Indexical Utterance (2019)
bandcamp
YouTube  
Evil Clown Album Page

Closed & Open Universes (2019)
bandcamp
YouTube  
Evil Clown Album Page


The Unreality of Time (2018)

bandcamp
Evil Clown Album Page


Non-Local Causality (2018)
bandcamp
Evil Clown Album Page

Fulcrum  (2018)
bandcamp
YouTube  
Evil Clown Album Page


​Thulsa Doom (2017) 
bandcamp
YouTube  YouTube  YouTube  YouTube
Evil Clown Album Page

​​​​Evil Clown Headquarters, Waltham MA
21 February 2021

Audio CD                                   Evil Clown 9265

PEK Solo - Decision Boundary


Evil Clown Headquarters, Waltham MA

​bandcamp streaming, downloads and CD mail Order

Squidco:  CD Orders

- Decision Boundary - 1:11:01


PEK clarinet, clariphone, soprano saxophone, oboe, English horn, tarota, medieval pipe, nadaswaram, mussette, flute, alto flute, Russia wood flute, bass recorder, triple slide whistle, chromatic harmonica, melodica, concertina, gongs, digital delay, looper

PEK Solo - Decision Boundaries

Review:

Leap of Faith Orchestra performs

Supernovae by PEK

by Karl  Ackermann, AllAboutJazz.com

YouTube Videos...

Performance Screen Grabs & Instrument Photos...

Composer and multi-instrumentalist, PEK, set his sights on something bigger with the Leap of Faith Orchestra's Supernovae. The previous incarnation of the LOFO expands from the fifteen musicians on The Expanding Universe (Evil Clown, 2016) to twenty-one players on this new outing. Another noteworthy element of this project is PEK's use of Frame Notation where the score is seen in written descriptions and straight-forward symbols within Duration Bars. The system provides the musicians with immediate understanding of their own parts and the higher-level arrangement of the music. 

Supernovae consists of a single track composition running just under eighty minutes. The digital download includes a bonus track. Though the extended piece is not broken out by formal movements, there are clear delineations within the score. PEK's ensemble—not surprisingly—includes enough non-traditional and weird instruments to compete with a Dr. Seuss orchestra. Though they are not playing in a vacuum, that group of instruments dominates the first ten minutes before strings and reeds make themselves more clearly heard. Forty-five minutes in, we have the first case of prolonged melody, darker and more subdued than the overall tone of the first half. 

Supernovae gives way to free improvisation overlaying the melody. Eventually the piece introduces a brilliant percussion passage before it reintroduces the non-traditional music elements, but here in a more refined manner. As with all of PEK's compositions, there is—behind the scenes—a painstaking amount of organization that is not always evident in the listening. That is part of the beauty of this album; the non-traditional approach to instrumentation and the lack of adherence to Western structure continue to make the various iterations of Leap of Faith consistently interesting. And interesting look at the written score can be viewed at http://www.evilclown.rocks/lofo-supernovae-score.html.

Liner Notes by PEK

Every once in a while, there is a break in the crazy schedule here at Evil Clown and I have some time to do a solo album. Our grand olde pal, the Corona Virus has provided such a break in spades…. At the beginning of the 2020, it appeared that the year would be our busiest yet… We did a bunch of albums in January, February and the first weeks of March, and then I was forced to cancel a bunch of wonderful performances scheduled for the months that followed. So, I caught up all my old business: web site, social media, distribution, and the other non-musical activity required to drive the enterprise. Then I took a month off… my biggest rest since I started up in 2015 after my long hiatus. In mid-May I started up again, conceiving some new means of producing some of the enormous output normally achieved by Evil Clown. In the Fall I did a huge series of solo works along with a few Metal Chaos Ensemble sets.

Now entering the second calendar year to be affected by the Stupid Virus, I really miss playing with others… For obvious reasons, I have been producing a lot more PEK Solo albums than I do typically. I conceived a structural schema for producing solo works while we wait for the virus to be over. As with larger ensemble Evil Clown sessions, the planning involves selecting sound resources from the massive Evil Clown Arsenal and setting up the studio with these instruments to allow rapid changes in instrumentation and therefore in sonority. This system provides a framework to create solo works that are sufficiently different from each other that I can continue to produce new work at something close to my usual rate even while I can’t perform with others.

The PEK Solo albums fall into four categories:
1) One continuous track (no overdubbing) of PEK playing one or many instruments with or without signal processing.
2) One continuous track of PEK playing one or many instruments with a prerecorded mix of samples drawn from the Evil Clown Catalog or specially recorded at Evil Clown Headquarters. Solo albums from before 2020 fall into the categories 1 & 2.
3) A Quartet of PEKs – Four continuous tracks of one PEK each playing many instruments on each pass. Three of these albums, Schematic Abstractions for the Clarinet Family, Fixed Intentions for the Saxophone Family, and Completeness for Flutes and Double Reeds use very focused palettes. Other Quartet of PEKs releases use broader palettes comprised of woodwinds, percussion, electronics, and strings.
4) An Orchestra of PEKs – Many tracks of PEKs performing on a broad section of the Arsenal. The last two of these, Semantic Notions and Some Truths are Known, are mammoth 4-hour studio constructions / compositions in 3 eighty-minute movements.

The current set, Decision Boundary, is kind of between category 1 and category 2. I play a bunch of the smaller woodwinds, melodica, and gongs, but use a Loop Station to build up a sequence of accompaniment textures in the real time of the performance. The loops act like the prerecorded elements of a category 2 work, and the performance unfolds with all decisions made in real time like a category 1 mix.

One aesthetic problem requiring a solution when performing long solo works on many instruments is how to continue the sound through the time required for instrument changes… Of course, the looper does exactly this since the loop will continue to cycle even when it is taking no input from the live playing. This is freeing, since I have time to think ahead as I make changes in instrumentation, and time to do more careful reed prep as I change horns. When using many instruments, you don’t have the option of warming up each instrument and spending time on the reed before the set starts. Even if you could, there might be 30 or 45 minutes before you use a particular horn, by which time the reed can easily dry and require treating again…

I like this format, since I like the completeness of the real time gesture… I’ve used the looper before, but never for as much of the length of the work as is present here. I think I will repeat this format for my next set, but with large woodwinds. This should produce a work of similar structure, but with a very different sonority set…

Until the stupid virus is over and more normal interactions are possible with other people, I will continue to create PEK Solo new works using the four concepts listed above and maybe some new ones. There also may be some small group Leap of Faith and Metal Chaos Ensemble sets. Evil Clown will resume its normal routines when vaccination is widespread, and it is safe to do so.

As usual, the chaos of the universe throws out problems which require our attention. Expression must be expressed. Music must be made. The chaos of the universe demands it.

PEK – 2/23/21

On Leap of Faith: "Alien yet familiar, bizarre yet completely fascinating. Expanding, contracting, erupting, settling down, always as one force..." - Bruce Lee Gallanter, DMG

2

Evil Clown 

On Metal Chaos Ensemble: "... ​using unique strategies to yield densely active and eerily surreal music, an incredible excursion through experimental improvisation."   - Squidco website staff

Squidco Blurb  

"With exotic instrumentation including clariphone, tarota, nadaswaram, mussette, flutes, clarinets, English horn, medieval pipe, whistles, concertina and gongs, Boston improviser David Peck performs over elements captured on a loop station, all decisions made in real time as he evolves this extended improvisation, creating a diverse and unusual recording."


Excerpt from PEK Liner Notes

"...  The current set, Decision Boundary, is kind of between category 1 and category 2.  I play a bunch of the smaller woodwinds, melodica, and gongs, but use a Loop Station to build up a sequence of accompaniment textures in the real time of the performance.  The loops act like the prerecorded elements of a category 2 work, and the performance unfolds with all decisions made in real time like a category 1 mix.  ..."