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PDA / This Side Down

cover art for 'Blur' EP

CD label for 'Blur' EP

This band I was in during high school began, as most bands do, as an idea being passed around. My friend Jonathan Ecklund and I started talking about "our band" around the end of middle school, and it went on for a long time without any prospect of it actually happening. That isn't to say nothing was being written- I'd been jotting down random lyrics since eighth grade and started to collect them in a folder. Eventally, I was writing whole songs and planning out how they would sound, and during junior year I was talking with our mutual pal, Lyman Smith, and I told him about my "band" with Jonathan. I asked if he would consider joining us in our crusade, and Lyman was completely gung-ho about it; I credit him with making it anything more than just an idea. Soon we were joined by our friend Ben Getsug, and had our first practice in our high school's band room.

The first thing we played (or tried to play) was Devo's "Auto-Modown", a song I'd taped from a bootleg Devo record, The Men Who Make The Music (not the video, and later I found out that the song could easily be found on Hardcore DEVO Vol. I). The practice was more or less a disaster, and sounded a lot like the jam session from the end of Bill And Ted's Excellent Adventure where George Carlin says reassuringly, "they do get better!" Our next practice was immeasurably more successful, and we covered the Beatles' "Rain". I now wish we had a recording of that, since we never played it again. During the summer after 11th grade (in July), we had a couple recording sessions at Ben's house- he had a home studio right in his room. We were still debating over the band name at that point- Jonathan and I would spend hours on the phone passing name ideas to each other. (One of the results of these conversations was One Sweet Second, which ended up as our school men's quartet name that year- see below.) We all finally agreed on the name PDA, and the result of the sessions was Blur, an EP containing five songs. Jonathan was on rhythm guitar, though he never played during the sessions, but sang in the chorus for "Popularity Game." I was the lead vocalist and played synth. Lyman was also on guitar (acoustic and electric) as well as backing vocals, and he sang lead vocal in his own song, "Open Your Eyes." Ben, the producer of the sessions, had been drumming during our practice sessions, and here he programmed a drum machine on synth to make up for the absence of a live drum set in his room. On the left is a thumbnail of the cover and CD art (the same goes for the other albums on this site). Later that summer, Lyman and I had some demo sessions in my basement using his 4-track recorder. We recorded three new songs, and the sound quality was much, much lower compared to the EP we'd just made. The three songs, "Fantasize", "Can I Help It?" and "Morning Flight", remained somewhere on a cassette tape lost in my room until the end of my high school career, when I put together all the songs I'd written in a compilation CD simply called High School Demos (I didn't add the "Demos" to the title until later on). Then I found the cassette and added the songs to my CD, doubling the vocals to make them sound better.

Soon Jonathan and Ben left for college, and Lyman and I were left without a band to play with. When the following schoolyear started, we soon found two new members, Thomas Lally (drummer) and John Messner (guitar). With the new lineup, we called ourselves This Side Down, a name coined by Carrie Martinson, my girlfriend at the time. We had pretty good practice sessions, but production slowed down at that point (plus, I was busy with my own music- see below). We only had one new song, titled, "Move On." Maybe it was a hint. We disbanded after Lyman and I graduated high school.

The Blur tracks written by me can be found here, and below is an excerpt from the other track, written and sung by Lyman:


CD label for Food album Yes, Food. That was the name that everyone in my circle of friends in high school agreed upon concerning our "band". Back in middle school we'd taken on a healthy(?) obsession to Beverly Hills, 90210 and one day discovered a CD called Hating Brenda by Rump. The CD was full of parodies on the show and inspired us to write songs parodying the people and places around us (and there's not much else to do in suburban Minnesota when you can't drive). We were, if anything, a studio band, with our one and only live performance taking place at our school's talent show. There we played our only non-offensive song "I've Forgotten How To Have Fun" with me pressing a sequence-start button on the keyboard and all of us singing and dancing the rest of the time, dressed in clubbing clothes. We even made a CD, and I'm not even sure of the album name (it's either self-titled or called MPA Buffet).

Here are the two most wholesome tracks from the album:

Ten Degree Chill (a.k.a. TDC Funk Band)

cover art for 'The Pipe Is Broke' EP Begun as a funk band formed by members of our frat at MIT and a friend from Berklee on drums, we blended funk with jazz and hip-hop. The story of this group could possibly go back to the first term of my freshman year, when a bunch of us (mostly future members of the band) really wanted to have a band, or even just a group of people to jam with. The problem was that we didn't have a drum set. After some searching, our then-resident advisor (and TDC alumnus) Ed Hammond saved the day by getting a hold of a drum set from a friend. That pretty much catalyzed a habit of brothers holding jam sessions in the basement, playing rocky, funky, sometimes new-wavey stuff. The next year, our new pledge class was very musically inclined and the membership of our jamming group grew quite a bit.

We needed one more catalyst, and it arrived in October with the announcement of the return of MIT's Battle of the Bands. We had one month to come up with a good set, let alone a well-defined group. It was pretty much decided overnight that we'd form a funk group, as many of us were brass players who played a lot of jazz, and the rest of us were more rock-driven. Soon, we had a well-defined member line-up: Chris Rakowski on saxes and flute, Mike Fabio on bass, Duane Tanaka on tenor sax, Dan Halperin on trombone, Justin Raade on guitar, Eric Gunther on spoken word, and myself on vocals and synth. We also needed a regular drummer, and that spot was filled by Adam Nazro, a good friend of the house.

With that, we built up a repertoire of funk covers (figuring that with a month left, we didn't have the time to work on original material), and decided to just go as TDC Funk Band. Soon the evening of the battle arrived, and when we were about to start, I couldn't get my keyboard to work (I still don't know why it didn't work that night), so I was certain we were doomed. I was ready to just pretend I was playing while I sang, but the band unanimously turned down that idea. Soon it was our turn, and I grabbed a pair of bongos and improvised as we started with an instrumental piece. We seemed to be doing all right, and by the time we started "Low Rider", I was pretty sure we could pull off a good set. The height of the set was James Brown's "Sex Machine", which lasted over 12 minutes. We ended up getting first place, and from then on we were all committed to the band.

A few weeks later, we threw a funk party at our house, with live music by our band (then renamed to Ten Degree Chill) as well as Fink Fank Funk, an awesome funk band from Harvard who were the runners-up at the battle of the bands. That was the biggest party we'd had at our house since I'd been here. We continued playing gigs the following term, and at this point we started playing original music based on Chris's riffs and Eric's lyrics. In March we opened for Naughty By Nature at MIT's Habitat For Humanity benefit concert. Unfortunately, Chris and Dan had another concert that same night (one that held their GPA's hostage), but Sumita Pennathur quickly learned the sax parts and the show went on (click on pictures below). We also ended up buying a Rhodes on, as well as a nice 8-track mixer. Early in April we recorded an EP in the Pipe (basement), appropriately titled, The Pipe Is Broke; about a hundred copies of the EP were made and sold at subsequent concerts. Half the members graduated in June, and that basically spelled out the end for us.

Here's a song from our EP, edited for the MIT compilation.
Here's a live recording from the Naughty By Nature concert, featuring Sumita Pennathur on saxophone. (The tape was really noisy, so I did some heavy filtering that produced some warbly artifacts.)

"Why Is Patty On Fire?" (as said with a pseudo-British accent)

While Ten Degree Chill gave up the funk, other members of the house (including Mike Fabio, Justin Raade and myself) wanted to play in a darker, hard-edged group, and the upcoming annual Bondage party was the perfect setting for it. With three weeks until the night, several of us got together to develop a set of gothic-industrial covers. The lineup included Jessica Hinel on vocals, myself on keytar and vocals, Mike on bass, Justin on electric guitar, Erik Larson on old-school synth, Andrew Hires on new-school synth, and Aman Loomba on drum machine. Our final setlist included Talking Heads' "Psycho Killer", Gary Numan's "Metal", Lords Of Acid's "Pussy", NIN's "Happiness In Slavery" (featuring Phil Marfuta on 'slave screams'), and X-Ray Spex's "Oh Bondage, Up Yours". We called ourselves "Why Is Patty On Fire?" which has a long story attached to it. (Some people have called us "Patty's On Fire", or even Panties On Fire.) I wish we had a recording of the set, because apparently it sounded pretty good (and we had no monitors!), though the vocals were apparently hard to hear. We do, however, have pictures from the show. Click on one of the thumbnails below to see an enlarged picture (I'm the one looking like a pissed-off Smurf).

The Wreckage

After spending my first quarter at Stanford wishing I was in a band again, I sent out an email within my department inviting anyone who was interested in starting a rock band with possible New Wave influences. The result was the following lineup: Paul Larson on drums, Miguel Chavira on guitar/bass, Jeremy Liu on bass/guitar/vocals/keys, and myself on synth/vocals/guitar. The sound that resulted was more rock-based than New Wave, though we cover "Mad World" by Tears For Fears. Miguel provides the core musical vision while Jeremy and I take turns on the lyrics, but then we collectively polish over every detail of the song, making sure each part and musical phrase has something new to offer. After a long debate, we agreed on the name "The Wreckage", which came from the title of a Gary Numan song, "This Wreckage", as well as a lyric from his Replicas album ("The wreckage of a hero lies / broken in a corner and / everyone pretends they like to live that way")

When Jeremy and I graduated and Paul left town over the summer, we were no longer a Stanford band. We started a long search for a new drummer, finally ending up with Scott McClendon of Napa Valley. (When Paul returned in the fall, he joined me in playing with another group called Zen Finger Painting.) For a while we rented out a practice space at H.I.T. Wall Studios in South San Francisco and played a few gigs downtown, but we eventually disbanded. Miguel still has a bunch of studio tracks that have yet to be mixed. Click here for our outdated band website, or here for our outdated myspace page.


  • "Return" and a demo version of "Traffic" were featured in a short film by Ryan Kaci.

Here are two songs we recorded at CCRMA. Miguel wrote the music and I wrote the words. Here are songs from a live set (post-produced). Miguel wrote the music and Jeremy wrote the words (except for "Mad World").

Zen Finger Painting

cover art for 'Quantum Physics Girls'

cover art for 'This Is Nerdpop'

Zen Finger Painting is (fellow CCRMAlite) Gregor Hanuschak's project, which has seen many incarnations over the past few years:

pre-2004: Around 2001 Gregor recorded an album of quirky laptop rock under the name Zen Finger Painting. Later he formed a band called Gregor and the Mechanix that played his songs, and he continued writing and recording more originals.

2004-2005: I met Gregor and ate up his album. At one of my parties he suggested forming a new band (the Mechanix had disbanded by this time) and I agreed. We were soon joined by Gregor's friend Jonathan Solnit on lead guitar, and my former Wreckage bandmate Paul Larson on drums/vocals. Most of our material was very kooky and stylistically reminiscent of Ween and early Devo. We played as that lineup for about a year, re-arranging a lot of ZFP's past material and adding a few covers (such as "Trunk Fulla Amps" by Self). Below you'll find a few pictures of us during this time period.

2005-2008: We went on a hiatus while Gregor went to the east coast for business school. During that time, Gregor and I collaborated on each other's songs (which resulted in the new arrangement of my song "Sixteenth Summer", as well as a collaboration with Alisa Tantraphol), and we filmed a music video for "Quantum Physics Girl", directed by Gregor's college roommate Bill Gienapp.

2008-2009: Gregor and I resumed practicing when he returned to the bay area, but without a drummer we had to come up with synth backing tracks to songs. While we came up with new arrangements to the originals from our last lineup, we added a bunch of new covers. Soon we resumed gigging at various venues in South Bay, our last one being at Bay Area Yuri's Night 2010, a lineup that included N.E.R.D. and the Black Keys. We even filmed a second music video for our new arrangement of "Down on the Farm" (a.k.a. "Why Do We Eat the Ones We Love"), a song that was originally on Gregor's first album.

We now had enough material for a new album (more like a compilation), which we posted on iTunes. It's surprising how easy it is to sell music on digital stores using TuneCore. The album Quantum Physics Girls includes all of Gregor's originals since his first album, plus our collaborations, plus two live tracks from 2005, plus our new version of "Down On the Farm (Why Do We Eat the Ones We Love?)".

2009-present: After posting Quantum Physics Girls we were once again in different parts of the country, so with the exception of a one-off gig at Maker Faire we had stopped playing live (though we experimented with practicing online using the JamLink).

In 2009 I had started recording tracks for studio versions of our last setlist, and soon Gregor commenced recording his instruments and vocals as well. The recording and mixing process was spread over the next 3 years, and while I hammered away with the mix and overdubs, I helped Gregor set his friend Daniela's ESA contest-winning essay on the value of human spaceflight to music in 3 sections. The result of all this was a coherent 21-song album called This Is Nerdpop that I had poured a ridiculous amount of time into. And it's finally up on iTunes.


Synthpop Period (1998-1999) - Album Name: High School Demos

final cover art for 'High School Demos' When Lyman and I recorded new demos in my basement after the Blur sessions, I realized that making and recording my own music wasn't so out of reach (keep in mind this was still before conventional PCs were powerful enough to manage multitrack sessions). I already had a good synthesizer/sequencer (Ensoniq TS-10) which I'd been using for the band, making sequences here and there just to get outlines of our songs. At first I didn't think these sequences would sound good on their own (or with my voice), but when PDA suddenly shrunk to two people, I looked to the synth in a new way and started elaborating on the sequences I'd made. I was clearly influenced by the Human League and other 80s synthpop that I was listening to at the time, as well as some 90s dance and Sean Lennon's "Into the Sun". Then I got a 4-track recorder of my own, laid down the sequenced tracks, and recorded vocals alongside them. I called them experiments instead of songs, because I still didn't feel like I was making complete pieces of music. As time passed, I was experimenting with the mixer/recorder itself as well as continuing to find new things I could do on the synth. My songwriting was also expanding past the I-IV-V-I-esque chord sequences, though very slowly. I didn't have a nice, even pseudo-professional studio program to use when mastering the songs (I just used Sound Blaster's Wave Studio), but something can still be said about taking what technology you have and pushing it to its limit (or somewhere relatively close). You might notice a funny accent in my early vocals (inclding the PDA stuff)- that was me singing the way we were told to in choir...with open vowels and sharp consonants. I must've figured it would make my words more enunciated or something. Anyway, at the end of my senior year I started a new project: a compilation CD of all the stuff I'd recorded in high school. It was definitely easier said than done. I ended up reworking this song and rerecording that song just to make everything right. Of course, the end product was still far from perfect, but I had to stop somewhere and burn the CD. I included the songs from PDA's Blur that I'd written, as well as a version of This Side Down's "Move On" that I made for myself.

The CDs I distributed to my friends varied in tracklisting, but here's the finalized list (in MP3 format): All tracks written, arranged, performed and produced by Rego Sen, except:
* arranged/performed with PDA, produced by Ben Getsug
** arranged/performed/produced with Lyman Smith

All tracks copyright © 1999-2004 Regaip Sen

Industrial Period (1999-2000) - Album Name: Observer

cover art for 'Observer'

CD label for 'This Happened Before'

I continued making songs on my synthesizer when I entered college, and I burned a CD of what I had done by the end of my first semester (1999). I called it Songs From the Pipe (referring to the room I was staying in, which was called the Pipe). I was really disappointed by this new CD, mainly because it was a premature creation- I only made it because I really wanted to have a CD of what I'd recorded after high school. Ben Getsug had given me an effects module he wasn't using anymore (an Alesis Microverb III), which I used sparingly at first in my high school demos, but now I was using it prominently on many of my vocals (mainly for echo and reverb). Before I finished my first semester, I borrowed my roommate Sidney's used acoustic guitar for a few days and recorded myself playing some bizarre straight-across riffs using a ring I'd been wearing (which probably wasn't good for the strings- sorry, Sid!) It made a cool scratchy sound, and I extended what I had recorded into a new, bizarre acoustic song. It would later turn into the first guitar-based song I'd ever made- let alone the first that had myself playing a guitar. When I was back in Minnesota for part of the winter, I made some recordings using an old 80s synth our family had owned for over ten years. I'm talking about the small keyboards with small keys that almost every other suburban family has in their basement, probably just collecting dust. I was continuing to listen to Gary Numan and other dark wave, so a lot of my new music was inspired by their sound, as well as that of industrial bands like Nine Inch Nails and KMFDM. During the second semester, I borrowed Sidney's guitar again and started to teach myself chords from a small book I'd bought, and soon I could play songs I knew. I put this new knowledge into my music by recording myself playing a friend's bass and electric guitars for the new songs I had. Soon my songs were really starting to sound the way I envisioned them. After the end of the term, I came back to Minnesota and worked on putting my songs together into a new album (including some reworked tracks from Songs From the Pipe). At this point I was uncomfortable with putting my name on such a dark depressing album, even though I was only making a handful of copies to give to friends. At first I called the album Welcome to Reality under the name Parvenu, thinking of the protagonist of a short story I'd read by F. Scott Fitzgerald, "Winter Dreams." Then I decided I didn't like the connotation the name carried, so I continued to think about another name for my alter-ego. I was looking through my music collection, jotting down musical allusions and other ideas, when I got to the tracks on Gary Numan's The Pleasure Principle. There it was: "OBSERVER," and I knew that was the one. Next, I ended up recording a new song of the same title as the album, using some lyrics I'd been wanting to use in a song for a long time. Then I renamed the album, This Happened Before. Now that it's been several years, I really don't care for the alter-ego thing. So if I ever publicly release these recordings, I'll just put this one under my own name and call the album itself Observer. Whew, third time's the charm...

I created two verions of the album: a seamless album with transitions and longer sections, and an album of standalone "single" versions. Here are the album tracks in MP3 format. All tracks written, arranged, performed and produced by Rego Sen, except:
* includes drum loop samples by Groovster, The Stereo Logic, and DnB Breaks Collective

All tracks copyright © 1999-2004 Regaip Sen

Acoustic Period (2000-2003) - Album Name: Decade of Novembers

cover art for 'Songs From the Institute'

CD label for 'Songs From the Institute'


cover art for 'Decade of Novembers'


cover art for 'Stanford Soundtrack Volume 3'

This period began in late 2000 as I was finishing up the final touches on Observer. Fred Choi announced that Aron Eklund of WMBR had agreed to team up with the MIT Songwriting Club to record songs by members of the MIT community and create a compilation CD to distribute amongst ourselves. I chose "Kelly", the first song I'd written entirely with the guitar. (I had just learned how to play guitar that spring and had been teaching myself covers over the summer, so at that time "Kelly" was also my only guitar song.)  I loved Fred's piano-playing style and asked him to accompany me on the song, and he was happy to do so. I then recorded a quick demo for him to practice with, but there was one problem: I'd unknowingly tuned my guitar a half-step flat and was already singing at the top of my range. When we went to record it, I had a hard time singing that high and ended up singing falsetto for the last couple takes. Instead of choosing a single take, I tried mixing them together to combine my chest-voice and falsetto vocals in an effort to get the best of both worlds. This turned out to be really tricky, since we hadn't used a metronome and I did a lot of cutting and pasting to get the multiple takes lined up. The work was definitely worth it, as "Kelly" is one of my favorite tracks. When I took over the songwriting club, I got more funding for the CD project and our distribution jumped from 50 CDs to 1000 (labeled and wrapped and everything!) on the condition that we give them away throughout campus. The CD was optimistically named Songs From the Institute, Volume 1 (but to my knowledge there is yet to be a Volume 2).

Inspired by the success of "Kelly", I continued to write songs based on the guitar instead of the synthesizer. I also planned on writing synthesizer accompaniments to most of my new songs, as my next album was going to feature a beautiful balance of acoustic guitar and electronics. At one point I even intended to incorporate the electronic pieces I'd made for computer music classes. The working title was Songs For Leaving, and unfortunately I never got farther than recording the guitars and vocals. (At the time I blamed MIT's courseload, but looking back I admit that a certain leafy green substance was the bigger culprit.) By the second semester of my senior year, I had come to grips with reality and decided to scrap my plans for an electroacoustic album. Instead, I assembled my existing recordings into a compilation of songs on acoustic guitar, hurriedly recording more songs I'd planned and adding ones written as far back as high school, most of which I had intended for our then-band PDA. My new vision for this album was to remain acoustic (no drums or electronic instruments), but for many of the songs to have accompaniments like "Kelly". It took several years before I got around to getting overdubs recorded, some with the help of my later bandmate Gregor Hanuschak. The album artwork features an eviscerated classroom in MIT's Building 4 that students occasionally used for solitary studying; the barren walls and floor with protruding pipes and fixtures made it a nice backdrop for this "unplugged" album.


  • During grad school, I submitted "Kelly" for The Stanford Soundtrack, Volume 3 (my first choice was "When You're the Other Man", but it exceeded the maximum allotted track length), and it ended up as the final track on their CD.
  • "Kelly" was featured in a short film by Scott Nagle that premiered at the 48 Hour Film Project in San Francisco. It ended up winning Best Script and Best Film in SF, and went on to be in the Top 5 nationwide! Here is the IMDB entry.

Below is the final tracklisting of Decade of Novembers in MP3 format. Additional credits inlined.

All tracks written and arranged by Rego Sen, except:
  • "Sixteenth Summer": orchestral arrangement by Gregor Hanuschak
  • "Kelly": piano arrangement by Fred Choi
  • "I Knew Her Name" based on "I Know Their Name" by Men Without Hats
All tracks produced by Rego Sen, except:
  • "Kelly" produced by Aron Eklund and Rego Sen
All tracks copyright © 1999-2004 Regaip Sen

New Period (2003-present)

Political album (in progress)

A tentative political album had been brewing in my head since college, though it sat on the backburner while I played in the Wreckage and Zen Finger Painting. Here's a couple tracks that made it through:

All tracks written, arranged, performed and produced by Rego Sen, except:
* drums and additional production by Fred E. Jam (Keeper)

All tracks copyright © 1999-2004 Regaip Sen

Other recordings

While I've since done arrangements and recordings with Zen Finger Painting, my own songwriting has slowed to a crawl. The only complete song I've released in the meantime is the following track I wrote and recorded for my wife, where I play the Turkish bağlama and tambourine over the Ensoniq TS-10:

Written, arranged, performed and produced by Rego Sen

Copyright © 2006 Regaip Sen

Please visit my professional page for production and compositions.


High School Men's Quartet '97-'98: One Sweet Second

One Sweet Second in concert My high school had a men's vocal quartet with a lineup that changed every year. I made it into the group as baritone in my junior year, along with three seniors: Dave Steffes (top), Adam Paul (bass), and Andy Commers (lead). We were directed by Marlys Fiterman, who also directed us the year after. Our repertoire included the Beatles' "Blackbird" and "When I'm Sixty-Four", Phish's "Bouncing Around the Room", Billy Joel's "And So It Goes", and barbershop classics like "Coney Island Baby." No one really knew us by a name, but one night we were singing before another act and needed to introduce ourselves as something. I had in my planner a list of band name ideas Jonathan and I had come up with (see above) and I read it out to the other quartet members. Adam Paul really liked the name, "One Sweet Second," and the rest of us agreed. He then went up to the microphone to introduce us as that, and it became our official name. Toward the end of the year when we performed "Bouncing Around the Room," we featured Lyman Smith, another junior (and fellow PDA member) who would later become a quartet member the following year.

MN All-State Men's Choir '98

me and Axel Theimer at St. Olaf During the summer after my junior year, I spent a week at St. Olaf College (in Northfield, MN) for that year's All-State Choir session. Our director was Axel Theimer, a former Vienna boys' choir member who grew up in Austria and now works at St. John's University and the College of St. Benedict. He was a great teacher and carried around a model of a larynx, whom we referred to as "Larry the Larynx." Our repertoire that year included "Zion's Walls", "Tarantella", "When I Fall In Love", and "O Filii Et Filae", among others. One event I'll always remember happened right before we went up to the stage to perform later in January of the next year. We were waiting in a room beyond the stage, and a few people started singing "Prayer Of the Children". Having sung that in my quartet, I joined in, followed by others. Soon, most of us were singing it out with all our hearts, and by the end many of us had tears in our eyes.

High School Men's Quartet '98-'99: Quadra Sigma

Quadra Sigma in concert During my senior year, our quartet's lineup was Lyman Smith (top), Mark Fredrickson (bass), John Knoedler (baritone) and myself (lead). Mark was the only junior, and the rest of us were seniors. Our repertoire that year included "And So It Goes" from the previous year, as well as Peter Gabriel's "In Your Eyes" (with Ashton Allan beatboxing when we performed live), "Prayer Of the Children", and more barbershop tunes, like "Charlottetown", "Climbin' Up the Mountain", and "Keep In the Middle Of the Road". We agreed on the name "Quadra Sigma" to mean "Sum Of Four" in a mix of Greek and Latin. (For a short time, we were debating between that and "Quattre Summe," which was fully in Latin as far as we knew.) In the spring we toured Missouri and the Ozarks with the school's concert choir, and as graduation approached we decided to work on a recording project with producer (and ex-PDA member) Ben Getsug. We set up recording equipment in the Knoedler home and recorded most of our repertoire in one day, a very long day. Then I designed and printed CD labels and booklets, and soon we had 50 CDs burned and packaged in a gold-tinted case.

Here are two songs from the album:

Sound Of America European Concert Tour '99

Sound of America '99 CD During my summer between high school and college I went on an overseas trip with a national choir (and band) to perform in various places throughout west-central Europe. We first spent a week in Dickinson College in Hayesville, PA to thoroughly rehearse our pieces altogether. I remember it was ridiculously hot that week, and at one point I had ice cubes sitting on my nest of hair just to cool down my head. During the next few weeks that followed, we went through Germany, Austria, Italy, Switzerland, France, and Luxembourg. We sang in hotels, music halls, and cathedrals (including the Notre Dame cathedral in Paris). The most memorable singing experience took place in Venice, Italy where we sang in St Mark's Basilica. The reverb in that cathedral lasted seven seconds, and hearing the heavenly echo of our final note was a sensation I'll never forget.

MIT Resonance

cover art for Resonance's 'First Harmonic' The newest of MIT's a cappella groups, this sixteen-person coed secular group was founded by Sara Jo Elice and Jessica Hinel in January 2001. While the other secular a cappella groups at MIT were known to take an overwhelming amount of time from its members, our group was founded as a more casual alternative. Below are a couple tracks of us in concert:

"Tainted Love" by Soft Cell was the only song I had arranged for us. I wish I'd gotten around to do more. :|

Here's my favorite solo: "Badly", which was written by fellow MIT student Dan Katz (his original version appeared on the Songwriting Club CD) and arranged by David Zych. We released our first CD of 14 songs during my senior year- below is the tracklist, with original artists in parentheses. The two songs with links to their excerpts feature me on the solo.

  1. Because The Night (Patti Smith)
  2. The Animal Song (Savage Garden)
  3. Dust In The Wind (Kansas)
  4. Suzie Q Sailaway (Self)
  5. Road Trippin' (Red Hot Chili Peppers)
  6. Always Getting Over You (Angela Ammons)
  7. Life Goes On (Poison)
  8. Space Oddity (David Bowie) - excerpt
  9. Who Needs Sleep? (Barenaked Ladies)
  10. Protection (Massive Attack)
  11. Breaking Up (Neil Sedaka / 2gether) - excerpt
  12. Can't Fight The Moonlight (Leann Rimes)
  13. Nothing Else Matters (Metallica)
  14. Easy People (Nields)

That project marked the end of Resonance's status as a "low-key" group, and from what I hear they've become much more competitive and involved now. To drive the point home, a song from their second album made it on the BOCA 2006 CD. (Congratulations, everyone!)