Prior to performance, preparation is peremptory. Scalar approaches, diatonic and chromatic, essentially apply. Yet strange resonances also insert – and are just as necessary.
Featuring synthesizers and percussion.
Symmetry is not always obvious. Something can be symmetrical across more than one dimension – odd, but still beautiful.
Featuring synthesizers, percussion, electric guitar, arpeggiator, and Hammond B3 organ.
Chipmunk! Chipmunk!
Featuring cajon, synthesizer, shaker, flute, water bottle, and vox.
Nothing.
Featuring strings, drum kit, electric guitar, bass, and voice.
notes:
posdomingo 02.10.2016
year: 2016
duration: 7.36
accordion: eva zöllner
format / info: work for accordion and 8 channels fixed media. this piece is only the fixed
media in stereo version.
incluye postre
year: 2016
duration: 7.52
format / info: 4 channels fixed media, this is a stereo version.
out of nowhere
year: 2016
duration: 1.00
format / info: fixed media (stereo) miniature.
todo a mil
year: 2015-2016
duration: 6.30
format / info: fixed media (stereo) soundscape.
a todo menos a nada
year: 2009
duration: 7.47
format / info: fixed media for 8 channels, this is a stereo version.
Ana María Romano G.
Compositora, artista sonora, docente, curadora e investigadora colombiana. Sus intereses creativos se sitúan en la intersección entre el sonido y la tecnología con preguntas desde la escucha, el espacio, el cuerpo, género y sexualidad, la improvisación y la experimentación, paisaje sonoro, ruido, relaciones interespecies, la erótica, los afectos y las dimensiones políticas en la creación. Sus búsquedas le han permitido trabajar los medios acústicos, electroacústicos y la creación en ámbitos como instalaciones, video, artes escénicas y radio. Sus más recientes creaciones plantean la posibilidad de expandirlas para que puedan tomar nuevos rumbos, así una obra puede ser instalación, repositorio, concierto, archivo, o desplegarse a las artes escénicas. En su vida son de gran estima los espacios para construir y compartir saberes de manera colectiva y colaborativa, así como los diálogos interdisciplinares e intergeneracionales y la creación de redes. En todas las esferas de su trabajo considera inseparables las dimensiones políticas en la creación. Suele compartir espacios colaborativos con artistas nacionales y de otros países.
Sus obras han sido publicadas, comisionadas, premiadas y presentadas en Colombia, Alemania, Argentina, Australia, Austria, Bélgica, Bolivia, Brasil, Canadá, Cuba, Chile, China, Ecuador, España, Estados Unidos, Francia, Grecia, Inglaterra, Italia, México, Perú, Rusia, Suecia, Suiza y Uruguay.
Su actividad docente se ha desarrollado ampliamente en espacios formales y no formales a nivel infantil, juvenil y universitario. Además, ha sido invitada como conferencista, curadora y jurado por diferentes instituciones académicas y culturales dentro y fuera de Colombia.
Ha desarrollado una profunda investigación sobre la compositora Jacqueline Nova, artista fundamental en la música electroacústica en Colombia, abriendo múltiples actividades para la difusión de su obra. Actualmente investiga sobre las protagonistas-referentes de la música electrónica latinoamericana y produce desde En Tiempo Real el proyecto “El lado B que también es el lado A”, que consiste en diálogos intergeneracionales entre compositoras latinoamericanas para reconocer el trabajo de quienes han estado presentes desde los inicios de la música electroacústica y fortalecer vínculos entre las artistas.
Ha participado como organizadora, colaboradora y expositora en múltiples proyectos en torno al paisaje sonoro con diferentes aproximaciones: medio ambiente y cambio climático, ecosistemas, relaciones interespecies, perspectivas sociopolíticas.
A lo largo de su carrera ha organizado eventos con miras a la difusión de la creación actual (conciertos, talleres, seminarios, encuentros, etc.) caracterizados por contar con la presencia de artistas locales, nacionales e internacionales.
Actualmente es docente en la Universidad El Bosque. Coordina la Plataforma Feminista En Tiempo Real, espacio que se construye sobre el tejido de redes en el trabajo colectivo y colaborativo y, gracias a 16 años de trabajo continuo, cuenta con el reconocimiento de la comunidad musical/sonora del país y de la región, lo que le ha merecido premios y le ha permitido establecer alianzas con numerosas organizaciones culturales y académicas en diferentes ciudades de Colombia y en otros países para desarrollar proyectos conjuntos tanto artísticos como de circulación y difusión.
Desarrolla su labor artística y docente dentro y fuera de Colombia.
Ana Maria Romano G.
Colombian composer, sound artist, teacher, curator, and researcher. Her creative interests lie at the intersection of sound and technology, exploring questions related to listening, space, the body, gender and sexuality, improvisation and experimentation, soundscape, noise, interspecies relationships, eroticism, affect, and the political dimensions of creation. Her research has allowed her to work with acoustic and electroacoustic media and to create in fields such as installations, video, performance arts, and radio. Her most recent creations raise the possibility of expanding them so that they can take new directions, allowing a work to be an installation, a repository, a concert, an archive, or to be deployed in the performing arts. In her life, she greatly values spaces for building and sharing knowledge collectively and collaboratively, as well as interdisciplinary and intergenerational dialogues and the creation of networks. In all spheres of her work, she considers the political dimensions of creation to be inseparable. She often shares collaborative spaces with artists from her own country and abroad.
Her works have been published, commissioned, awarded, and presented in Colombia, Germany, Argentina, Australia, Austria, Belgium, Bolivia, Brazil, Canada, Cuba, Chile, China, Ecuador, Spain, the United States, France, Greece, England, Italy, Mexico, Peru, Russia, Sweden, Switzerland, and Uruguay.
Her teaching activity has been extensively developed in formal and informal settings at the children’s, youth, and university levels. She has also been invited as a lecturer, curator, and jury member by various academic and cultural institutions both in Colombia and abroad.
She has conducted in-depth research on composer Jacqueline Nova, a key figure in electroacoustic music in Colombia, initiating numerous activities to promote her work. Ana Maria is currently researching the leading figures in Latin American electronic music and producing the project “El lado B que también es el lado A” (The B side that is also the A side) from En Tiempo Real Platform, which consists of intergenerational dialogues between Latin American composers to recognize the work of those who have been present since the beginnings of electroacoustic music and strengthen links between artists.
She has participated as an organizer, collaborator, and speaker in numerous projects related to the soundscape with different approaches: environment and climate change, ecosystems, interspecies relationships, and sociopolitical perspectives.
Throughout her career, she has organized events aimed at promoting contemporary creation (concerts, workshops, seminars, meetings, etc.), characterized by the presence of local, national, and international artists.
She currently teaches at El Bosque University. She coordinates the Plataforma Feminista En Tiempo Real (Real Time Feminist Platform), a space built on collective and collaborative work dedicated to the encounter between sound and technology focusing on women and sex and gender dissidences. Thanks to 16 years of continuous work, it has gained recognition from the music/sound community in the country and the region, which has earned the Platform several awards and allowed it to establish alliances with numerous cultural and academic organizations in different cities in Colombia and abroad to develop joint artistic projects, as well as projects for distribution and dissemination.
She carries out her artistic and teaching work both inside and outside Colombia.
To learn, and to make – fingers are frequently waggled. Levers depressed – strings struck – hammers rebounded. Somewhere in there, the millionth note.
Featuring piano.
The most we can readily fit in our head is three things, and so achieving more requires the focus to complete those tasks, and the discipline to proceed to the next. Staying in place requires motion – making progress requires acceleration.
Featuring clarinet.
Semi-structured plans. Partial tonality. Improvised approach. Musical outcomes?
Fingers find things.
Featuring improvised baritone saxophone accompanied by a randomly generated modal sequence of synthesized voice and electric keys. Released on Netlabel Day 2025.
Charm, lost – innocent. For want of clasp, the charm descended unexpectedly to locales unforeseen. It joins other once-charming brethren, evolving from expressions of personal joy to memories of the strangeness of circumstances. Retrieval is unlikely, but if you do discover charms, remember from whence they came.
Featuring piano, synth, and arpeggiator.
Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed.
Featuring improvised bass clarinet.
So, no more singles. I’m trying to figure out what works in this modern musical world and I’ve come to the conclusion that nothing works. I hate singles, and you probably do too. So I’m releasing all the singles in one convenient package here, while I work on my first album in a while.
released June 2, 2025
“Interesting” times imply high future variance, but usually begin during relative stability. A calm before a storm, a moment of misleading respite – but a bit of peace, nonetheless. Clouds come and clouds go, and only some have lingering impact. What peace will last, and what will come after?
Featuring 8-bit sounds from the Famicom, also known as the Nintendo Entertainment System (NES).
“Interesting” times imply high future variance, but usually begin during relative stability. A calm before a storm, a moment of misleading respite – but a bit of peace, nonetheless. What peace will last, and what will come after?
Featuring 8-bit sounds from the Famicom, also known as the Nintendo Entertainment System (NES).
Starting from somewhere, and going someplace. Mislaid mariachi, mothballed in space. Is it a party? Is it a wake? Perhaps it is neither, but is simply displaced.
Featuring a mariachi band from “El Mariachi”, a virtual instrument developed by Libre Wave.
There is an argument that, regardless of complexity, all is theoretically knowable from prior conditions. Cause and effect explain all that was, is, and will be – if only we could gather and compute with the data. But even proponents of this argument will generally acknowledge that such a feat is unlikely – we come from, and are going to, an incalculable gumbo.
Featuring reverb, modulated by volume, accompanied by synthesized drums and effects, all triggered by a minimal infinitely-growing pattern in Conway’s Game of Life.
There is an argument that, regardless of complexity, all is theoretically knowable from prior conditions. Cause and effect explain all that was, is, and will be – if only we could gather and compute with the data. But even proponents of this argument will generally acknowledge that such a feat is unlikely – we come from, and are going to, an incalculable gumbo.
Featuring reverb, modulated by volume, accompanied by synthesized drums and effects, all triggered by a minimal infinitely-growing pattern in Conway’s Game of Life.
Halfway to a thousand, rushing along – passing and weaving through the throng. Whether miles or meters, the goal isn’t near – but it is the journey that we must hold dear.
Featuring jazz quartet of piano, upright bass, drum kit, and clarinet.
The Panther Running Loose
by Charles Rice Goff III
1 The Coal Dust On The Noose
2 Hip Lip Rip
3 A Wooden Stake For The Heart Of AI
4 Pillows For Neverland
5 Discothequeno
6 Refining The Effluent
7 Baby Break My Circuit
8 The Sanguinary Hacking Of Torakusu Yamaha
9 Rockin’ The Hey Wagon
10 Open To The Public
BACKGROUND :
Goff created the recordings for “The Panther Running Loose” between 2023 and 2025. None, except “The Sanguinary Hacking Of Torakusu Yamaha” has ever previously been released by Taped Rugs Productions (see specifics below). This collection was produced in cooperation with Netlabel Radio Day, July, 2025, at the following link:
https://netlabelday.org .
No artificial intelligence (AI) was employed in molding this presentation.
Tracks 2, 5, 7, and 9 all first appeared on the Herby Records release of a seven inch vinyl record entitled “Discothequeno” in December, 2024, at the following link:
https://herbyrecords.bandcamp.com/album/discothequeno .
Goff produced a collection of videos to accompany these four recordings, released in January, 2025, at the following link:
https://archive.org/details/DiscothequenoVideos .
Track 3 first appeared on the Aural Films online collection: “Horror Films 2024” in October, 2024, at the following link:
https://thismusicplantstrees.bandcamp.com/album/horror-films-2024 .
Track 8 first appeared on the Aural Films online collection: “Horror Films 2023” in October, 2023,
at the following link:
https://auralfilms1.bandcamp.com/album/horror-films-2023 .
The reference to Torakusu Yamaha in the title is a nod to how the creation of the piece involved original methods of playing (ie: “hacking”) a Yamaha VSS-30 Sampler/Synthesizer (Torakusu was the 19th Century founder of Yamaha technologies). The piece was later renamed and included in Goff’s “Calumet” collection, released by Taped Rugs in early 2024.
Tracks 1, 4, 6, and 10 have never previously been released by any label, including Taped Rugs.
INSTRUMENTATION :
Voice
Korg R3 Vocoder/Synthesizer
Yamaha VSS-30 Sampler/Synthesizer
Artiphon Orba
Casio AP-24 Electric Piano
Le Mega IR 1 Internet Radio
Original Sound Samples
Musescore MIDI Scorewriter
Kikkerland “Make Your Own Music Box” Kit
Aklot Electro-Acoustic Soprano Ukulele
Ibanez DM 1000 Digital Delay
Boss RC 20X Loop Station Loop Duplicator
Panasonic Portable Cassette Tape Recorder
Canon Digital Camera Recorder
SOFTWARE :
Amazing MIDI Wave-To-MIDI Converter
Polysoft MIDI to Mp3 Converter
Musescore MIDI Scorewriter
Roxio 2011 Sound Recorder
Cool Edit Pro II Multitrack Recorder
Audacity Multitrack Recorder
Several Plug-In Audio Sound Effects
Suffering, like all sensation, comes in finely varying degrees. Pain can be debilitating, or simply a distraction – or sometimes, a ghost.
Featuring clarinet.
We already know to avoid yellow snow – but that isn’t the only danger. More insidious, subtly causing ill effect – bad cream enters, lingers, grows. As with all things, it will eventually pass – though, it is a question of direction.
Featuring synthesizers, generative sequencers, arpeggiators, electric keys, and effects.
An event, not quite right – but, it works. Unindicated, not unerring, simply suggestive. Follow the suggestion, and vindicate retroactively. Resonances rebound, and eventually align.
Featuring improvised piano.
The syntax of sin, the tax of sines – a trial to share, a signal from tines. To see and to stare are two different things, so to those bemused – beware puzzling.
Featuring synthesizers, drum machines, flute, orchestral strings, brass, choir, piano, kitchen cups, baby toys, and effects.
Unplanned, it begins. Unstructured, it continues. Unknown, it develops. Yet as time passes, it takes shape.
Featuring string orchestra, flute, piano, french horn, trumpet, clarinet, and oboe.
