Manhattan-based composer David Shea is definitely closely from the NY Downtown experimental music scene, which include collaborators such as for example John Zorn, Anthony Coleman, Bill Frisell, Marc Ribot, Fred Frith, Ikue Mori, and Bill Laswell. A sonic architect making use of samplers, turntables, drum devices, and sequencers in complicated amalgamations of genre and ethnic reference, Shea is normally likely to move from probing electro-acoustics to Chinese language traditional music, American pop, Latin jazz, and exotica in the area of an individual piece. The majority of his function showing up under his very own name continues to be released through Zorn-related brands such as for example Tzadik and Avant, aswell as through Belgian experimental music label Sub Rosa. Using compositional strategies forged from early digital experimentalists such as for example Iannis Xenakis, Morton Feldman, Gyorgi Ligeti, and John Cage, Shea also provides more modern methods of digital audio style and manipulation, reducing the mixture with a broad palette of traditional and cultural impact. A exercising Buddhist, Shea’s unusual fusion of East and Western world (especially on albums such as for example Hsi-Yu Chi and Tower of Mirrors) is normally partially a function from the expressive part Eastern ethnicities have performed in his personal musical and social development. Shea’s service for fusing not merely the religious but also the pop social components of Eastern ethnicities (Hong Kong movie theater, allegorical Chinese language theatre, etc.) is definitely achieved and critically renowned. Although Shea’s early function was even more easily assimilated with additional sequencer- and sampler-based post-classical composers (such as for example Ikue Mori and John Oswald), merging raw elements produced from existing recordings to be able to recommend different lines of connection, Shea offers recently broadened his method of an extremely compositional part. It has generally included a little more discretion in the usage of samples, and a even more mutational method of their software (digital manipulation, results, etc.). Shea in addition has found an evergrowing audience in the greater experimental strains from the post-industrial/post-rave ambient and digital music established, having collaborated both live and in the studio room with artists such as for example Robin Rimbaud (Scanning device), Robert Hampson (Primary), Tobias Hazan, David Morley, and DJ Grazhoppa. Shea also is constantly on the bridge spaces separating his several audiences by executing at occasions and adding to tasks that engage both in identical measure.