How does your new sound compare to the work you did with Battles?
This solo music I’ve been performing recently has more of a sound design element to it at this point. I’m rediscovering this way of performing and am trying to find ways of surprising myself. The music is still routed in electronics and my love for strange arrangements and orchestral music, but it’s simpler and more raw then what I’ve done in the past. It’s all live, nothing sequenced and imperfect.
In what way has your father, the multi-instrumentalist Anthony Braxton, influenced your work?
My father showed me the importance of building your own world artistically. He also showed me how exciting and gratifying the experience of being a composer can be.
What was it like working with the Wordless Music Orchestra?
One of the most fulfilling experiences of my artistic life. WMO is comprised of really great people, not to mention incredible musicians. I learned a huge amount and I can’t wait to get an opportunity to work with them again.
What has been the most unorthodox object you’ve used to create your orchestrated loops?
The kazoo probably.
What projects and collaborations do you have lined up in the near future?
A bunch of things, really. I’m working on a new record mainly as well as a project I can’t say anything about yet, but I’m really excited about it. I’m in the midst of finishing commissions for Bang on a Can All-Stars as Alarm Will Sound well as for a premiere at Carnegie Hall. I wrote some music for my brother’s short film Themes from a Rosary and finished a remix for Philip Glass.
Who is the one musician you would kill to work with before you die?
I’d like to work by myself for now!
Catch Tyondai Braxton at the Mosaic Music Festival 2012 on March 15.
