Peter Green

Peter Green is a gifted artist, electronics designer and composer and is entirely self taught in all his various abilities. Peter began his musical and experimental career messing about with old clocks as a young boy. Later his interest in technical systems moved onto electronics and together with some really cheap Casio keyboards (starting with the classic VLTone that he still owns today) and a modified Sharp cassette deck so that he could make rudimentary ‘duo track’ recordings, he started to experiment with musical composition at about the age of 12. Pete’s technical thirst moved onto the building and modifying synthesiser circuits recording these onto a modified Yamaha MT44 cassette multitrack, where he began to compose coherent musical works. Right from the beginning, Peter adopted a numerical labelling system for his music. Because of this, these can be traced back to the first available – number 5! (Currently in early 2008, Peter is at composition 261). Peter Green studied fine art and music (BA Hons ‘Visual and Performing Arts’ 1990-1994) at the infamous Pavilion Parade VPA unit of Brighton University and as a first year student was at the forefront of the student demonstration and takeover of the University that turned into a nationwide demo movement following VPA’s lead. At VPA he specialised in semi-robotic sculptures made from recycled electronic junk and combined this within his compositions and performances ranging from pieces composed from anglepoise lamps, cutting edge orchestral works and dance collaborations examining Einsteins works. It was here that he first began to experiment with the highly complex areas of musical resynthesis and transformations using the CDP system (Composers Desktop Project). Peter’s experimental work progressed with his Masters Degree in ‘Electroacoustic Music Composition’ at the UEA under Dr. Simon Waters. (Mmus University of East Anglia 1994-1997). It was just before this that he teamed up with the ‘Kosmik Komando’ Mike Dred and together they almost immediately landed a hefty commission from the ‘Sonic Arts Network’ to compose a new experimental collaborative work that would examine the juxtaposition and recontextualisation of dance techno music using electroacoustic techniques. Pete and Mikes first experimental vinyl release ‘Beyond the Box’ on the Machine Codes label and featuring the infamous ‘Cornucopian 105’ was an instant commercial success receiving outstanding critical acclaim. Their collaborative experimental work formed part of Pete’s Masters thesis, and the core of his investigative work was in the development of new forms of time dilation and expansion based on non-phased vocoded and traditional means. Pete was also developing new spatialisation techniques by the micro aligning and temporal positing of timbral deployment and textural juxtaposition creating musical space without reverberant, convolution or time delay devices. Indeed none of his electroacoustic work employs any means of traditional reverberation in any form. This culminated with the work ‘DEHS’ appearing as an award prize winner at Bourges 26th International Electroacoustic Festival 1999. The collaborative parts of this experimentation with Mike Dred grew into the cult album ‘Virtual Farmer’ released on Aphex Twin’s Rephlex Records in 1998, said to be quote ‘the best album ever on the label’.After many film scores for the BBC, commissions, works for dance and general musical mayhem, Peter is now working on his most experimental (and potentially mind blowing!) work yet for his PhD at Bath Spa University studying under Dr. Joseph Hyde (2007 and ongoing). His research title is ‘A quantum-organic-cosmological composition model as expressed by the assimilation of particular musical data streams’ where he is working with the creation of quantum audio particles and DNA musical models ultimately building a conceptual ‘Rosetta Stone’ for the translation and emotional digestion of hardcore high level particle phys