Welcome, spindling interweb user.
Don't fear, I'm a Computational Media artist.
What does that mean?
I make films, websites, show flyers, do projection mapping, make music, visuals, and also challenging installation art. I am forever interested in aiding humankind by way of artistic design. I have worked on big projects for Fortune 500-funded startups, and for major universities, but I also have a big heart for the little guys. As a freelance web-developer, I have created a niche (and potential trend) for helping non-profits and social entrepreneurs to achieve their dreams and better this great planet. As an artist, I've shifted perspectives to a world of weird, and as a filmmaker, I hope to excavate the ancestry of the soul through the film Axé Orixá.
To see more basic info on my ratings and attributes use the pixelations just below...and if you triangulate just right, you might just leave with a smile.
September 24, 2009
At the crossroads of a euphoric jam scene and technical math-fusion, “improg” rockers Bodega Roja flirt with an unlikely collision of genres. The Atlanta sextet draws from their members’ vastly varied résumés in classic rock, jazz-funk, acoustic pop, metal, and electronic to offer a cohesive style uniquely Bodega.
With a furious fusion of influences like Umphrey’s McGee meets The Mars Volta, Bodega’s “front man” is the band itself, climbing from lush ambience to shredding in seconds and capturing crowds through mixed meters, psychedelic effects, sound design, and confident dynamic range.
Performing regularly at The Five Spot (Atlanta) and New Earth Music Hall (Athens), Bodega Roja has performed alongside Moon Taxi, The Heavy Pets, Pigs on the Wing (with Murph from STS9), Consider the Source, and Free Moral Agents. In 2010, Bodega hit the Georgia festival circuit as part of the Outlaws Outdoors, New Earth Day, AthFest, NoPhest and Summer Shade Festivals. That same summer, the band’s Northeast tour was highlighted by an appearance at the Bella Terra Festival in New York, headlined by Soulive and Lee “Scratch” Perry.
Aside from the more noticeable African and Latin-derived percussion, I offered a wide range of textural layering of the ongoing soundscapes, utilizing a variety of found instruments from across the globe.
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