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alexander robinson / Bio

All vocals, electric bass guitar, synth and other instruments by alexander robinson c.2012 I think that more of it is bass and less synth than most people would think. i programmed most of the beats.
I'm also trying to publish STORK AND AMBULANCE, a book of surreal, funny short stories, included in my upcoming dvd along with 200 very special collages and some songs not found online.
In the photo section are some of my photo collages (c. 2013,) some of which have appeared in juried shows. Some of the themes I use are the two-sidedness of people and things, confinement and rebirth, motion and balance, ancient with modern, low brow with high brow, technology and nature, magic, religious ritual, bringing to life inaminate objects, the act of seeing and what's appealing to the eye, a journey into a hidden world, the "interior." Some of the collages contain a liberal political message, and there are clear influences from Cubism and from Pop Art's infatuation with a mass-produced, all-consuming media.
Given recent rulings, these images, collected from the internet, can be used under the Fair Use Doctrine.

the music composition is most like modal jazz, pioneered on mine and everyone's favorite jazz album "kind of
blue," by miles d and john c. in modal jazz, one improvises based not
on chord changes, but rather by taking ONE scale and
turning it into 2 or more (up to 7) scales by simply using different
points of resolution. for example, take Cmajor (the white keys on the
piano, with no black keys:) normally, you start on the note C and go
up or down until you hit the next C and resolve there.
but, in modal jazz, you'd take those same notes, the white keys, but
start on, say, D and instead of resolving on C, you'd resolve on D.
this way,. the other musicians can still be playing Cmajor and
resolving on the note C but, while you're playing the same 7 notes as
them, you're playing Dminor ("D dorian") which gives it a minor, some
would say "sad" or "dark" feeling rather than a major "happy" feeling.
but I feel my concept is broader than that. im tuning my bass to (from the low string to high:)
D, G, C, and G. all those notes correspond to keys that are virtually
the same (Gmaj has only one sharp, F#, and Dmajj only 2 sharps, F# and
C#....) all these keys are of course very close to Cmajor (no sharps
or flats.)
so, if you talk about that in terms of not a bass guitar fretboard but
a piano keyboard, im treating it like: any "natural" note (white keys)
is a "resolving" note, whereas any black note (sharp or flat) im
looking at as "tension" that needs resolution.
one problem with this approach is that there is a temptation to play
mostly just the "white keys," the naturals. so, the challenge becomes
learning how to throw in as many black keys (sharps and flats) as one
can, to make things musically interesting. for example, using those
"tension" notes as "passing tones," like bridges between 2 white keys,
or by playing groups of notes together (chords) with the lowest note
being a natural, then 2 higher pitch notes, one of them "major" /
resolving, the other "minor" / tension.
for example: a G as the bass /.low note, with a B and Eflat on top.
that chord would be Gmajor, but with a minor 6th, the minor 6th being
the Eflat. those are the type of chords I like, a mix between
major-sounding and minor-sounding.

when it comes to adding layers of instruments, I use these general
rules of thumb:
a predominantly major-sounding layer will always work over
another(lower pitch) major layer, but only sometimes over a minor
a predominantly minor layer will always work over another minor layer,
but almost never work over a major layer.
the basic point here is that I divide the layers I come up with by
improvising (and save for later use) into 2 categories: predominantly
major and predominantly minor.

other unifying concepts for layers I use like "glue:"
--balance but without symmetry (involves the number "3" a lot, as in 3
repetitions of a riff rather than 2 or 4, or 3 notes in a chord, as I
detailed above.)
--ascent (the simple idea of UPWARD movement of scales, like columns
in a building.)
---tension / release
--- adding / subtracting layers from the mix("vertical") or parts
played in a progression("horizontal.") here, I work off this general

General Info

Artist Name
alexander robinson
Home Page
Singer Songwriter / surrealist

Contact Info

New York, NY

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