Composer / Producer / Live Electronics

E l i e  G r e g o r y

with maya master still bw with maya master still bw

Train (2016)

This electroacoustic piece uses both samples from programmed pulse train synthesisis and field recordings from a tunnel under a train track in Lichtenberg. The contradicting materials both acoustic and synthesised meet and find common ground through shared momentum.

Eurocentrism (2016) Binaural Version - please use headphones

This 8-Channel piece was both inspired by and structured around the meaning of the word ‘eurocentrism’.

The majority of the material for the piece was created by using various digital processing techniques on a field recording of some distant church bells.


For the text, the wikipedia definition of the word ‘eurocentrism’ was used:

‘Eurocentrism is the practice of viewing the world from a European perspective and with an implied belief, consciously or subconsciously, in the pre-eminence of European culture.”

11  4   5   11 (2009)

Work for instrument and tape. A representation of the audio environment in Britain on the 5th of November 2008. Anual fireworks with news of the election of Barack Obama flowing through televisions, radio's, and the internet. Two countries different political events almost simultaneously.

Performed by members of the City of Birmingham Symphony Orchestra, 2009.

Contact (2015)

A piece for Clarinet, tape and elements of the 'Berlin Lautsprecher Orchester'.


Performed 19.7.15 by Laurent Bruttin at the Zoom & Focus Concert, Hanns Eisler, Berlin.

Onliest Overlap for Violinist (2017) Binaural Version - please use headphones

Onliest   Overlap   is   a   piece   and   series   of   pieces   that   exists   only   through   performance   with   a   live input.   Most   suitable   for   a   large   multi-channel   setup,   its   structure   is   in   two   distinct   sections   and   the audio   material   consists   of   short   repeated   pockets   of   sound   which   are   created   through   recording and   looping   of   a   live   input.   In   the   first   section,   each   looped   recording   has   a   path   through   a variation   of   speakers   until   it   reaches   it’s   destination,   and   this   process   is   repeated   until   every speaker   available   has   an   individual   recording   on   it.   The   second   section   has   predetermined   notes that   are   recorded   and   played   back   directly   without      first   taking   a   path.   Each   recorded   note consists   of   three   to   four   short   recordings   which   are   are   then   played   back   at   different   lengths, creating   a   pulsing   effect,   creating   an   ensemble   of   rhythmic   and   harmonic   material.

Like PLastic Looks (2008)

A piece using samples from a curcuit bent speak&spell