20 JAN 20

TILT CORE Instensive Workshops February-April

Feb. 5, 12, 19 * Mar. 4, 11, 25 * Apr. 8, 15, 22
Alchemical Studios, 104 W 14th St. NYC

Invitation: 9 Tilt Core Workshops for Tilted Axes (Feb-Apr)

This post is for electric guitarists that have expressed an interest in Tilted Axes and How It Works.

Send an email to the address below if you would be available to attend some upcoming Tilt Core Development Workshops. 

The focus of these workshops will be to:

1. Sharpen the skills we developed last year with old and new etudes that use unconventional scales, world rhythms, and unfamiliar forms.

2. Incorporate movement into playing. We will be working with guest choreographers. 

3. Develop performers for a current Tilt Core for Storyscapes, The Mars Project, and other multidisciplinary work.

Workshops will take place at the Alchemical Studios, 104 W 14th St., studio# TBA, on the following Wednesday nights, 7:00-10:00pm, dates are below.

You do not have to be present at all workshops. If interested, please indicate which ones are possible:

FEB 05 
FEB 12
FEB 19

MAR 04
MAR 11
MAR 25

APR 08
APR 15
APR 22

The actual content and shape will depend on the responses received. However, the dates have been booked and are firm.

N.B. If you do not have a VOX Mini3 G2 or similar portable amp, you will be given an amp to borrow for the duration of the workshops.

Please get back with any questions: tiltedaxes@peppergreenmedia.com

Web page: tiltedaxes.com/tiltedaxes.html

01 JAN 20


21 DEC 19

"SOUNDSCAPES" ~ Community Stories Told in Sound

Coming in 20/20: "Storyscapes" are site-specific musical processions based on melodies and rhythms given to Tilted Axes by neighborhood residents in an introductory workshop. Over the course of a weekend, the collected melodies etc., reflecting local places and events, will be developed into a free performance done throughout the neighborhood that inspired it. Please support: https://bit.ly/396ifMQ

15 DEC 19

Wishing You a VERY New Year!

Tilted Axes 20/20 Vision = Music + Art + Science: Moving Out Into the World
Join our team >>> https://fundraising.fracturedatlas.org/tilted-axes-music-for-mobile-electric-guitars

Thank you all for a wonderful 2019! With your generous support we were able to bring free Tilted Axes: Music for Mobile Electric Guitars performances to the public, both indoors and out-of-doors, while transforming communities in the process. Here are some of our highlights from the last 12 months:
Cold Moon Consort I & II NYC
Winter Workshops at Alchemical Studios (6)
Third Man Records Cass Corridor Equinox
Henry Ford Museum of American Innovation
The Marche du Nain Rouge, Detroit
Spring Workshops at Alchemical Studios (6)
Space Camp at the DIME
Tilted Axes @ Rubulad Brooklyn
Tilted Axes Make Music Harlem
“Promenade” at the Detroit Institute of Arts*
Apollo 11 “Moonwalk” at the Michigan Science Center*
*Part of the 27th Annual Concert of Colors

Info and pictures

Over an album’s worth of new material was created and performed by Tilted Axes for these events. Look forward to new recordings being released in the coming year.

Please Join Us for Our 2020 Projects!
Donation link: https://fundraising.fracturedatlas.org/tilted-axes-music-for-mobile-electric-guitars
By supporting our work with your *tax deductible* donation, we are able to rent rehearsal space, maintain our mini-amps, buy batteries, engrave and print our scores, hire security and staff for our performances, create print materials and ads to spread the word about our mission, but most important of all, to pay our fine musicians. With your help, we've been able to keep our performances free to the public. 
If you’ve been a part of our team in the past, now is a good time upgrade your status and renew your membership!

Tilted Axes Goes to Mars 
(working title)
Save yourself a figurative seat in Mission Control for next summer's launch of the new Mars Rover! Why are we going to Mars when there are so many problems here on Earth? Because it is through initiatives like this that we will find the terrestrial solutions we need so badly. The very technology you're using right now is directly descended from the Earth to Moon missions of yesteryear. Become a part of our Mars mission and help us get out the word to all possible pioneers in a way that only music+art+science can inspire us to action. More iNFO herehttp://tiltedaxes.com/tiltedaxes.html

A Tilted Trajectory
The year ahead begins with Winter Workshops of all new material. We have the March Equinox to look forward to, as well as the Spring Workshops that will follow. We will be working with some of the city’s finest choreographers to refine our moto-narrative. Expect big events in June and July as we mark the launch of the 2020 Mars rover. Count on even bigger events to transpire in October through December as we track the Rover’s progress to Mars, scheduled to land in February 2021. It’s too soon to spill the details, but if this year was any indication, then next year will be even bigger as we move into truly uncharted territory.
"If you've ever experienced the unexpected sight and sounds of Tilted Axes filling the city streets, you know how special the project is! Help us keep going! Tilted Axes: Music for Mobile Electric Guitars is ready to create new music and movement-based performance throughout the urban landscape and into unexpected venues. Please be a part of our team! Check out the info or video and make a *tax deductible* donation - every little bit Tilts!" - Jocelyn Gonzales, radio producer
A Solstice Wish
The winter solstice is the anniversary of Tilted Axes: Music for Mobile Electric Guitars. We began on Dec. 21, 2011 as part of the first Make Music Winter celebration in NYC. Since then, we have expanded out into the world, and over the airwaves. Please support our mission via our donation link here: https://fundraising.fracturedatlas.org/tilted-axes-music-for-mobile-electric-guitars. 2020 will be a landmark year for the project with special guests, rare opportunities, and the potential for music, art, and science to change the world for the better, a community at a time. We believe this.
Wishing you all the best and a VERY New Year!
Tilted Axes: Music for Mobile Electric Guitars

05 DEC 19

ASCAP Plus+ Awards 2019

"I’m honored to get news that I, along with other esteemed friends and colleagues, have received an ASCAP PLUS+ AWARD for our latest cycle of compositions, recordings, & performances. Personally, this is my eighth such consecutive award from the ASCAP Foundation.

The award is mostly reflective of my relaunch of "TILTED AXES: Music for Mobile Electric Guitars” and our performances involving art and astronomy, especially “MOONWALK” that was created in commemoration of the Apollo 11 mission. The award is given to "...writer members...whose works were performed in unsurveyed media as well as writer members whose catalogs have prestige value." Since much of this work takes place off the beaten path, it's great when the pioneering spirit of Tilted Axes gets recognized.

Beyond the honor, it’s also a monetary award that will go straight into the budget for 2020's upcoming work "Tilted Axes Goes to Mars". What a great addition to the completion of this year and as preparation for the next. Thank you, ASCAP, for nurturing new music of all kinds for so many everywhere that it’s created."
- Patrick Grant, NYC

03 DEC 19

THANK YOU EVERYONE Who Gave Generously for #GivingTuesday

We are honored by your support! #TiltedAxes

Join Our Team

Tilted Axes Goes to Mars 2020 - Save yourself a figurative seat in Mission Control for next summer's launch of the new Mars rover! Why are we going to Mars when there are so many problems here on Earth? Because it is through initiatives like this that we will find the terrestrial solutions we need so badly. The very technology you're using right now is directly descended from the Earth to Moon missions of yesteryear. Become a part of our Mars mission and help us get out the word to all possible pioneers in a way that only art+music+science can do.

05 NOV 19

Wall Street Journal Review of New Albums by Glenn Branca and Dither Quartet

Read the complete review by Allan Kozinn HERE

29 OCT 19

NYU Awards Funding to Composer Patrick Grant for Tilted Axes Projects

"I am happy to find out that I received a 2019-2020 cash award from NYU Tisch School of the Arts. The award, from the Adjunct Professional Development Fund, is to further develop my work with mobile electric guitar ensembles in composition, performance, and public engagement. As a medium, the work will be used to address community concerns (i.e. the use of public spaces), global concerns (i.e. climate change and renewable energy), and future concerns (i.e. space exploration and unforeseen discoveries). Above all, it’s about creating music together and moving it out into the world. Thank you, NYU!" – Patrick Grant

#art #music #science #tiltedaxes

27 OCT 19

Don Gillespie R.I.P. - A True Champion of New Music

Don Gillespie R.I.P. (1936-2019) ~ I’m very saddened to learn of the passing of new music champion Don Gillespie. He was a friend. Don was Vice President of C.F. Peters music publishers when a very young me got a job there in the late 80s. He taught me so much about music, especially John Cage, Lou Harrison (he was good friends of both and introduced me to them), an expert on Delius, and my gateway to lesser known (to me at the time) composers like Nancarrow, John J. Becker, and Ruth Crawford Seeger.

I remember drunken music nights at his apartment where we’d have Busoni sight-reading contests (The Piano Concerto), debate the non-narrative structure of Robert Ashley‘s “Now Eleanor’s Idea“, and then he’d turn around and make us listen to a 1920s recording by The Skillet Lickers. The week that Lou Reed’s “New York” album came out, we listened to it at his place while eating the freshly smoked mozzarella he’d pick up for us from Joe’s Dairy on Sullivan Street. Let’s not even get started on his fascination with Sorabji!

Don and C.F. Peters’ Evelyn Hinrichsen were amongst the first supporters of my Silent Treatment concert series, my first productions, in the East Village back in 1989-90. He supported all kinds of new music up-and-comers, he connected many of us, young and old, near and far.

I would continue to see Don over the years either at concerts or get togethers at Margaret Leng Tan‘s house in Brooklyn for a performance of Lucier‘s Strawberry Fields Forever-inspiredNothing is Real.” I remember Don and his then wife Sabine coming over to gorge ourselves on caviar that I had just smuggled back from Russia and playing “Cage’s “Ophelia (1946)” on the piano for him on the 41st floor looking out over Central Park.

Don got really mad at me one time when, on the newly invented internet, I spoke for him (incorrectly) in an argument with Howard Stokar. He had every right to be really mad because I did something dumb. Something good came out of it. When asking him for forgiveness I was able to tell him how much he meant to me and everything I learned from him. We got back on track, but I wish I could tell him all over again.

The last time I saw Don I was playing a piece of music of mine on Cornelia Street in an ensemble that was celebrating Terry Riley’s “In C”‘s 50th anniversary. I saw him in the audience, he lived around the corner, and we just smiled. I haven’t seen him since, though I thought of him often. It was fitting.

When I think of all the hell he caught at C.F. Peters (it was an ugly scene back then for non-serialists; Don called it Fort Dodecaphonic) for supporting tonal, rhythmically innovative, non-European-inspired forms of new music, I’m glad he held his ground, and even put his job on the line a few times (truth), for the music he believed in.

So, seeing him there that sunny afternoon, with new compositions playing in the air inspired by “In C” to a diverse and interested crowd of New Yorkers, it felt like a victory for all of us who followed the musical pathways he showed to so many of us.

That fight’s over.

You won, Don.

Thank you.

Rest in Peace.

“John Cage at 100” by Don Gillespie

“Don Gillespie New Music Box Profile”

Don’s middle name was Chance

24 OCT 19

"96 Tears" - Tracing the Roots of American Punk Back to Detroit
An American Icon on Public Radio International's STUDIO 360

"53 years ago this week, '96 Tears' by ? and The Mysterians rose to #1 on the pop charts. This week on Studio 360, the roots of American punk are traced back to Detroit in this brand new American Icons piece produced by Jocelyn Gonzales and Pedro Rafael Rosado, with Rob St. MaryRalph ValdezMary Cobra, New York Times' Jon Pareles, and help from Patrick Grant and WDET 101.9FM." (27 min.)


01 OCT 19

2020: Tilted Axes Goes To Mars

 - "On a more cosmic note, Tilted Axes goes to Mars in 2020. Tilted Axes: Music for Mobile Electric Guitars has joined the roster of names that will be inscribed onto a silicon chip as part of the 2020 Mars rover mission. Engineers with the Microdevices Laboratory at NASA's Jet Propulsion Laboratory in Pasadena, California will stencil all the names onto the chip with an electron beam. "This is part of a public engagement campaign to highlight missions involved with NASA’s journey from the Moon to Mars," NASA officials wrote in a statement.

The 2020 Mars rover is scheduled to launch to the Red Planet on July 2020 and land inside the 28-mile-wide (45 kilometers) Jezero Crater. The 2,300-lb. (1,040 kilograms) rover, with its nuclear power source, will search for signs of past microbial life, study the climate and geology of Mars, and collect samples that may be returned to Earth on a future mission". #TiltedAxes #GoesToMars

27 SEP 19

Kehinde Wiley’s Times Square Monument: That’s No Robert E. Lee

New York Times: The sculpture, of an African-American man in streetwear and mounted on a horse, was unveiled Friday and will eventually move to Richmond, Va., home to a number of Confederate memorials.

"Good memories of when I would compose and arrange music for artist (and Obama portraitist) Kehinde Wiley's openings some years ago (i.e. see video in link below). It's great to see that the Malcolm X. Shabazz High School Marching Band is still on the case w/ the unveiling of his latest work yesterday in #TimesSquare." - Patrick Grant 


25 SEP 19

First-Round Grammy Awards® Voting is Open

For Your 2019 GRAMMY AWARDS® Consideration

FIELDS AMAZE and other sTRANGE music
by Tilted Axes creator Patrick Grant
new recordings from his classic catalog

* Contemporary Instrumental Album
* Instrumental Composition: “Keeping Still”
* Chamber Music / Small Ensemble Performance: “Imaginary Horror Film – Part 2″

The 62nd GRAMMY AWARDS® First Round Voting begins September 25th
Listen on Soundcloud: http://bit.ly/2n1Phue
More iNFO: http://bit.ly/2mtfemf

09 SEP 19

Grammys® Phase One Voting Begins In a Few Weeks!

24 AUG 19

International Strange Music Day Interview in EL CORREO, Bilbao, Spain

An International Strange Music Day interview for the leading daily newspaper in Bilbao and the Basque Country, El Correo, by Iciar Ochoa de Olano.

> Here's a link to the PDF <

18 AUG 19


Today, in a directors meeting at 12:34pm, phase 3.0 of the Tilted Axes: Music for Mobile Electric Guitars project was begun, commencing with Season 2019-2020. More iNFO TBA

17 AUG 19


Read the Ultimate Guitar article by David Slavković HERE

07 AUG 19

MUSIC-NEWS.COM (London, UK): "Tilted Axes Composer PG's 'Fields Amaze' Receives Three Grammy® Entries"

"The album is a Gordian Knot of tracks embracing classical, rock, and world music traditions where, according to the UK’s Prog Magazine, '…themes circle round but sound like they are twisting themselves out on a Moebius strip…a perpetual motion of agitated activity…although this music is richly melodic and rhythmic…there is a particular lightness about it, like a stone being skimmed across a lake.'"

READ the full article here: https://bit.ly/2YNDkFH

01 AUG 19

ALTERNATIVE NATION: "PG's 'Fields Amaze' Received Three Grammy® Entries"

“Last year, Alternative Nation praised composer-guitarist Patrick Grant’s album, 
Fields Amaze and other sTRANGE music. And it turns out that the applause was indeed well deserved, as the album has three entries in the running for selection for the 62nd Grammy Awards taking place January 2020 – Best Contemporary Instrumental Album (for Fields Amaze), Best Instrumental Composition (for Keeping Still), and Best Chamber Music/Small Ensemble Performance (for Imaginary Horror Film – Part 2). Described as “Unexpected rhythms, outside of the box instrumentation and a completely, uncompromising barrage of artistic individuality” by Alt Nation’s Joe Hughes, several genres are touched upon concerning Grant’s original style/approach, which blends together instrumental, experimental/avant-garde, prog, jazz, and soundscapes…”

the full article here: https://bit.ly/2MtZZEv

22 JUL 19

FIELDS AMAZE & Other sTRANGE Music Gets Three Entries in the 62nd Grammy Awards®!

20 JUL 19

Two Sets of CONCERT OF COLORS Pictures on Facebook!

Tilted Axes: PROMENADE at the Detroit Insitute of Arts

CONCERT OF COLORS: A procession through the Detroit Institute of Arts and surrounding cultural campus as part of the 27th Annual Concert of Colors on July 12, 2019. Photos by Jocelyn Gonzales.

Tilted Axes: MOONWALK at the Michigan Science Center

APOLLO 11 ANNIVERSARY: A narrative procession with original music for mobile electric guitars through the Michigan Science Center in commemoration of the 50th anniversary of the Apollo 11 moon landing. This event was part of the 27th Annual Concert of Colors 2019. Three performances were given to the public: an open rehearsal on July 12 and two shows on July 13. Photos by Jocelyn Gonzales except where noted. #Apollo11 #MOONWALK

18 JUL 19

Two New TILTED AXES Video Clips...

1. Tilted Axes: Performing "Techno Tilt" on Fox 2 Detroit

Tilted Axes: Music for Mobile Electric Guitars
promotes the 27th Annual Concert of Colors on Fox 2 Detroit.

2. Tilted Axes: "On the Steps of the Kresge Court"

Tilted Axes: Music for Mobile Electric Guitars performs in the Kresge Court at the Detroit Institute of Arts as part of the 27th Annual Concert of Colors on July 12, 2019. #TiltedAxes Original video shot by @doooovid and music © 2019 Patrick Grant/Peppergreen Media (ASCAP)

05 JUL 19


TILTED AXES: MUSIC FOR MOBILE ELECTRIC GUITARS joins the 2019 Concert of Colors with two special musical processions.

On Friday, July 12 between 5:30pm-7:30pm, Tilted Axes presents "PROMENADE", which begins at the Charles H. Wright Museum and makes its way through the Detroit Institute of Arts before returning to the Wright.

On Saturday, July 13 at 1:00pm and 3:30pm, Tilted Axes premieres "MOONWALK", a new work in collaboration with The Michigan Science Center. The piece commemorates the 50th anniversary of Apollo 11, the first manned space mission to land on the moon.

10. Tilted Axes is a musical project created by composer Patrick Grant.
09. Tilted Axes is a procession of electric guitarists who wear mini-amps.
08. Tilted Axes can perform anywhere there are people, excelling in untraditional venues.
07. Tilted Axes’ roster of musicians can change from performance to performance, city to city.
06. Tilted Axes’ musicians learn a common repertoire created by PG and rehearse it in workshops.
05. Tilted Axes performances are free to the public and are supported through institutional and/or private donations.
04. Tilted Axes takes on aspects of spectacle informed by municipal band tradition, avant-garde theater, and world music.
03. Tilted Axes takes music out into the world and seeks transformative projects meant to change community conversation.
02. Tilted Axes is an apolitical organization, but it does support science, arts programs, and renewable energy whenever possible.
01. Tilted Axes works best when it is part of something bigger than itself i.e. festivals, exhibitions, community initiatives, astronomical events.

Produced by: Patrick Grant & Peppergreen Media

Presented in partnership with: The Michigan Science Center (Carole Wrubel, Paulette Epstein, Julia Lynn Marsh), The Detroit Institute of Arts (Larry Baranski), The Charles H. Wright Museum of African American History (Charles Ferrell), Midtown Detroit Inc. (Susan T. Mosey) and The Concert of Colors (Ismael Ahmed).

Sponsors and Supporters: Vox Amps & Korg USA (amps), DIME Detroit Institute of Music Education (rehearsal space), Brooklyn Battery Works, Tan’s Club (bandanas), Fractured Atlas (fiscal sponsorship)

Electric Guitars: Adam Bodeep, Alex Lahoski, Chris Simpson, Daniel Reyes Llinas, Eugene Strobe, James Keith La Croix, Jeff Georgas, John Lovaas, Jude Closson, Manny Falcon, Pacal Zelaya, Patrick Grant, Rick Matle, Rob Knevels Baritone Ukelele: Frank Pahl Electric Bass: Tim Taebel Percussion: Skeeto Valdez, Gael Grant Associate Producer: Jocelyn Gonzales Stage Manager: Julia Lynn Marsh Tilting AAD: Jeff Adams, Sarah Metivier Schadt

04 JUL 19

We are Over 100% of our Musicians Fund Goal!

Congratulations to all!
We are over 100% of our Musicians Fund goal! THANK YOU to everyone who recently joined and to those who are continuing supporters. The fund is still open and there's plenty of rewards to be had (T-shirts, CDs, etc.), but we are on our way to the moon. ALL SYSTEMS GO!

Join Our Team:

25 JUN 19

Please Support the Tilted Axes Concert of Colors Musicians Fund

The Concert of Colors, The Michigan Science Center, and the Detroit Institute of Arts provide excellent opportunities for the group to offer transformative performances that are free of charge to the Detroit community. But Tilted Axes is entirely self-funded and relies on your generous support to pay for its musicians, rehearsal space, and other administrative costs. Please consider joining our team and contribute to Detroit’s musical history!

Campaign page:

22 JUN 19

FB Pictures: Tilted Axes NYC Perfroms at Make Music Harlem 6/21

#TiltedAxes @ Make Music Harlem - North to 125th St. on Frederick Douglass Blvd. photo: Jocelyn Gonzales

View the set of photos on Facebook

19 JUN 19

Meet the Performers and Producers of TILTED AXES DETROIT: Concert of Colors

Click HERE to go to the Performers and Producers page

17 JUN 19



10 JUN 19


Celebrate space exploration all year in honor of the 50th anniversary of the Apollo 11 moon landing on July 20, 1969. Visit MiSci to explore space with exhibits, shows and events all year long.

More iNFO on the Mi-Sci web page:


06 JUN 19

TILTED AXES DETROIT Seeks Guitarists, Bassists, and Percussion

Detroit area electric guitarists and bassists needed to commemorate the 50th anniversary of the Apollo 11 mission.

Please read the details and APPLY via the Google Form here:

Michigan Science Center presents:
5020 John R St., Detroit, 48202

5-8 p.m. (Moving between Various Locations) TILTED AXES: MUSIC FOR MOBILE ELECTRIC GUITARS, created by Patrick Grant. Musical processions leading guests through the DIA (Detroit Institute of Arts), The Detroit Historical Society, + spaces in-between, ending at the Charles H. Wright Museum of African American History.

Michigan Science Center
5020 John R St., Detroit, 48202

1 & 3:30 p.m. TILTED AXES: MUSIC FOR MOBILE ELECTRIC GUITARS. Commemorating the 50th Anniversary of the first crewed lunar landing in 1969, "MOONWALK" by Patrick Grant. Performances around the center and in the planetarium.


25 MAY 19

The Tilted Axes: Concert of Colors Application is Open!

Google Form >>> https://forms.gle/QaUMZo7cQqNAmsqTA

WANTED: Astronauts, Flight Commanders, and Ground Control

21 MAY 19

Meet the Performers and Producers of Tilted Axes NYC Summer 2019

Click HERE to go to the page

17 MAY 19

Tilted Tetralogy: T-minus 3, 5, 6, and 8 weeks away...

15 MAY 19

Just Announced for June - TILTED AXES: RUBULAD

Tilted Axes
has accepted the opportunity to perform at Rubulad, a community of artists, performers and entertainers based in Brooklyn, NY, on Saturday, June 29th. This will take place ca. 9:00pm and will involve (perhaps) a nearby neighborhood foray, a procession through their garden, and a performance on and around their big stage. It will be Pride Weekend all around, so expect a joyful scene. #LikeARainbow

09 MAY 19

CONCERT OF COLORS Press Conference Today at the DIA

Concert of Colors Web Page

Press Conference today at 11:30 am, Crystal Gallery at the DIA (Detroit Institute of Arts). Doors open at 11. Hear the lineup and news of this year's world music festival! #TiltedAxes #Moonwalk

The Detroit Free Press

"...The following seven days will bring a variety of performances and events, including a mobile electric-guitar procession by TILTED AXES and screenings of films such as "Grace Jones: Bloodlight and Bami" and "God Said Give 'Em Drum Machines: The Story of Detroit Techno."

Hour Detroit

"Performers include Tilted Axes, a traveling guitar processional that will honor the 50th anniversary of the moon landing with a piece titled “Moonwalk;” Toby Foyeh and Orchestra Africa, a traditional Nigerian Yoruba music group; and Jordanian Palestinian electronic music group 47Soul.

On July 13, the festival will host the Detroit All-Star Revue concert. The concert is curated by successful Detroit producer Don Was, and it celebrates the 60th anniversary of Motown. Performers include Martha Reeves, Mitch Ryder, Carolyn Crawford, The Drinkard Sisters, Kenny Watson, and many more."

25 APR 19

Just Announced for July at the CONCERT OF COLORS

Michigan Science Center presents:
5020 John R St., Detroit, 48202

5-8 p.m. (Moving between Various Locations) TILTED AXES: MUSIC FOR MOBILE ELECTRIC GUITARS, created by Patrick Grant. Musical processions leading guests through the DIA (Detroit Institute of Arts), The Detroit Historical Society, + spaces in-between, ending at the Charles H. Wright Museum of African American History.

Michigan Science Center
5020 John R St., Detroit, 48202

1 & 3:30 p.m. TILTED AXES: MUSIC FOR MOBILE ELECTRIC GUITARS. Commemorating the 50th Anniversary of the first crewed lunar landing in 1969, "MOONWALK" by Patrick Grant. Performances around the center and in the planetarium.



24 APR 19

Just Announced: MAKE MUSIC HARLEM June 21

5-7pm, June 21:
a Make Music block party on W 119th Street
w/ a procession to The Apollo Theater and back


31 MAR 19

Tilted Axes: Music for Mobile Electric Guitars is Relaunched in Detroit!

The Henry Ford Museum - photos by Jocelyn Gonzales

Third Man Records Cass Corridor - photos by Greg Siemasz

Rehearsals at DIME - photos by Jocelyn Gonzales

Third Man Records Cass Corridor, Detroit, MI, March 20th. Photo credit: Greg Siemasz

The Henry Ford Museum of American Innovation, Dearborn, MI, March 23th. Photocredit: Jocelyn Gonzales

The 10th Annual Marche Du Nain Rouge, Detroit, MI, March 24th. Photo credit: Jocelyn Gonzales

We achieved the three aims we set out to accomplish:

1. Relaunch the project (DIME Detroit, Third Man Records),
2. Create new partnerships (The Henry Ford, The Michigan Science Center), and
3. Renew our audience and public presence there (The Metro Times, The Detroit News, The Marche Du Nain Rouge).

Come back for more details regarding more of Tilted Axes: Music for Mobile Electric Guitars in Detroit soon. In the meantime, see more pics of our recent performance on our Instagram page.

23 MAR 19

Detroit Music Awards Nomination for Composer Patrick Grant

NOMINATION for "Outstanding Classical Composer" from the Detroit Music Awards! The Final Ballot is open until April 7th. I am honored to receive this nomination.

If you are a member of the DMA, please consider my recordings and recent work with Tilted Axes: Music for Mobile Electric Guitars when casting your ballot.

Thank you! www.detroitmusicawards.net

20 MAR 19

Tilted Axes Return Is Detroit Metro Times' Staff Pick

Read it on the Metro Times web site HERE

13 MAR 19

One Week From Today: Tilted Axes Detroit!

TILTED AXES DETROIT: MUSIC FOR MOBILE ELECTRIC GUITARS was created by Detroit Music Awards-nominated composer & performer Patrick Grant. It was premiered at the 2011 winter solstice for Make Music New York and first performed in Detroit on the vernal equinox 2013. The project’s last area performance was at the 2015 Concert of Colors. This series of performances marks its Detroit relaunch. It’s new again. Tilted Axes events are *transformational* projects. Transformational projects are ones of such scale and scope that they can change the way a community looks at everyday things. Transformational projects can change the conversation, drawing attention to new or overlooked issues, artists, or areas. Examples could be science, renewable energy, or the public place itself in which the project inhabits. Transformational projects of immensity and innovation invite audiences, intentional or incidental, to experience the work in an unexpected manner. Tilted Axes’ performances are given free to the public.

Produced by: Patrick Grant & Peppergreen Media

Presented in partnership with Third Man Records Cass Corridor (David Buick, Roe Peterhans), The Henry Ford Museum of American Innovation (Cynthia Jones), and The Marche Du Nain Rouge

Sponsors and Supporters: Vox Amps & Korg USA (amps), DIME Detroit Institute of Music Education (rehearsal space), Brooklyn Battery Works, Tan’s Club (bandanas), Fractured Atlas (fiscal sponsorship)

Electric Guitars: Jeff Adams, Aileen Bunch, Jude Closson, Jeff Georgas, Christoph Götzen, Erik Grant, Patrick Grant, John Halo, Bob Kaufman, James Keith La Croix, John Lovaas, James McGlinnen, Chris McGorey, Chris Simpson, Gerard Smith

Baritone Ukelele
: Frank Pahl

Electric Bass
: Aaron Butler, Alex Durante, Sarah Metivier Schadt

: Skeeto Valdez, Zac Bru, Gael Grant

Associate Producer
: Jocelyn Gonzales

Stage Manager
: Rob Knevels

Tilting AAD
: Steve Ball

Co-producers and Tilted Team Members: In Honor of Patricia E. McKenna, Julia Knevels, Richard Wise, Leslie Stevens, David Greig, Detroit Guitars - Birmingham (Eric and Tracey Wolfe), Jeff Georgas, Erik Grant, Alex Lahoski, Sarah Metivier Schadt, Susan Montgomery, Paracademia NYC (Milica Paranosic), Mary Beth Abel, Jeremy Nesse, Alchemical Studios NYC (Carlo Altomare), Tracy Seneca, In Honor of Helen Keene McKenna, Richard Rodkin, Dan Gentges, Deborah Calvert, Gael Grant, Jason Kanter, Daniel Grant, Alexander Baxter, Lana Durante, In Honor of Herman and Elizabeth Keene, Aileen Bunch, Aaron Alter, Andrew McKenna Lee, Frank Brickle, Michael Fisher, Tamara Turner, Patricia Taylor, Dennis Bathory-Kitsz

We would like to thank: Ralph Valdez, “Showtime Dan” Tatarian, Neal Cortright at DIME, The Metro Times (Jim Cohen, Jerilyn Jordan, Jeff Nutter), Paulette Epstein and Carole Wrubel from The Michigan Science Center, Ismael Ahmed at The Concert of Colors, Third Wave Music, WDET 101.9 FM, Robert Fripp and guitars circles past, present, and future, and to our numerous standard bearers, satellites, and extended family around the world who, in these uncertain times, focus on doing what’s possible (plus 10%).

All music © Patrick Grant & Peppergreen Media (ASCAP)

Fractured Atlas is our fiscal sponsor. Tilted Axes performances are performed and provided free to the public. Won’t you consider making a tax-deductible contribution today for our future presentations?


01 MAR 19

The Tilted Axes Detroit: New Again Fund is Up and Running!

We have launched our Tilted Axes Detroit: New Again Fund through our fiscal sponsor Fractured Atlas. Tilted Axes provides free performances for the public and relies on tax-deductible support from people like you.

Your help will be put to use securing rehearsal space, the covering of production costs, transportation, and the offering of honorariums to our musicians for their time and talent. We offer all kinds of perks to our supporters in the form of albums, tilted t-shirts, and more.

Please consider becoming a co-producer with a donation of any size. Please help spread the word!

Here is the link:

28 FEB 19

Patrick Grant Receives Two Entries in the Detroit Music Awards 2019

Today I found out that I am entered into two categories for this Detroit Music Awards this season: Outstanding Classical Composer and Outstanding World Recording for my album "FIELDS AMAZE ..." (2018).

If you are a member or know someone who is a member of the Detroit Music Awards Foundation, please consider voting for my nomination in my categories during Phase 2.

Album info can be found here: https://bit.ly/2CxV5Cd

Thank you, @DetroitMusicAwards, thank you, Detroit!


23 FEB 19

All Systems Go: New Music to Commemorate the First Lunar Landing

"Composer/performer Patrick Grant and Tilted Axes: Music for Mobile Electric Guitars will collaborate with the Michigan Science Center to create a new musical work to commemorate the 50th Anniversary of the First Lunar Landing.

This new music will get its premiere in the planetarium and at various points around the center as part of the 27th Annual Concert of Colors in Detroit, MI the weekend of July 12th, 2019.

More details will be announced at the Tilted Axes Detroit: New Again relaunch event at Third Man Records Cass Corridor during the full moon equinox, Wednesday, March 20th ca. 6pm." #AllSystemsGo

20 FEB 19

PRESS RELEASE: Four Weeks Away... Tilted Axes Detroit: New Again

Download the Press Release HERE


“New Again” is comprised of the following three events and more details are available at http://tiltedaxes.com/tiltedaxes.html:

On Wednesday, March 20th (The Full Moon Equinox) The 18-plus musicians of Tilted Axes Detroit will assemble at 5:30pm at Third Man Records Cass Corridor at 441 W. Canfield, Detroit, MI to mark the project’s return to the city. Third Man Records was founded by Jack White in 2001 with locations in Nashville (2009) and in the Cass Corridor (2015). At this event, Tilted Axes director Patrick Grant will welcome visitors at 5:58pm, the minute the season transitions from winter to spring. A short in-store performance by Tilted Axes will follow. Then, during the 6 o’clock hour, Tilted Axes Detroit will perform a musical procession around the neighborhood to celebrate and promote their upcoming appearances at The Henry Ford (3/23) and the Marche Du Nain Rouge (3/24). The group will reconvene at Third Man Records Cass Corridor to complete the performance. This event is free and open to the public.

On Saturday, March 23rd at 1:00pm, Tilted Axes Detroit will appear at The Henry Ford as part of Make Something: Saturdays. The Henry Ford (also known as the Henry Ford Museum of American Innovation and Greenfield Village, and as the Edison Institute) is a sprawling history museum complex located in the Detroit suburb of Dearborn, Michigan, and was named a National Historic Landmark in 1981. The museum’s Model I Theme for March is “Collaborate”. In honor of that theme, Patrick Grant will premiere new compositions that emulate an assembly line in full swing during a Tilted Axes procession throughout the museum. The event is open to museum visitors, no extra tickets required. The Henry Ford, 20900 Oakwood Boulevard, Dearborn, MI, (313) 982-6001.

On Sunday, March 24th at 1:00pm, Tilted Axes Detroit will participate in the 10th Annual March Du Nain Rouge. Every March around the Equinox, thousands of revelers gather for a parade through Midtown Detroit to celebrate their city. At 12:00 noon, the crowd gathers at the corner of Canfield and Second, right next to Traffic Jam & Snug, for a celebration of Detroit with live entertainment. At 1:00pm the Tilted Axes procession will join the parade down Second to the Masonic Temple. This event is free and open to the public.

More about Tilted Axes: Music for Mobile Electric Guitars: Tilted Axes was created in 2011 by Detroit-born, NYC-based composer/performer Patrick Grant. Tilted Axes cuts musical pathways through the urban landscape, turning neighborhoods into their own sonic narratives. Since its inception, Grant has produced a number of Tilted Axes processions in various cities upon three continents. In 2013 Grant brought Tilted Axes to his hometown of Detroit and created a version of the project with a core of local musicians. They have performed in partnership with the DIA, WDET, the Charles H. Wright Museum, The Detroit Historical Society, the 2015 Concert of Colors, and other area sponsors.

Since Tilted Axes Detroit’s last area appearance in 2015, Grant released an award-winning album of Tilted Axes music as well as other works, one of which was nominated for a Detroit Music Award in 2018.

TILTED AXES DETROIT is a project of Peppergreen Media, sponsored by Vox Amps/Korg USA and local partnerships with Third Man Records Cass Corridor, The Henry Ford Museum of American Innovation, and The Marche Du Nain Rouge, with additional support from the DIME Detroit Institute of Music Education, Third Wave Music, and generous private co-producers and tax deductible donations made through our fiscal sponsor Fractured Atlas.

15 FEB 19

Tilted Axes Detroit to Rehearse at the DIME Detroit Institute of Music Education

Tilted Axes: Music for Mobile Electric Guitars 
gratefully acknowledges the support and partnership of DIME in hosting all of our rehearsals during the project's return to Detroit next month. 


13 FEB 19

Five Weeks Away... Meet the Tilted Axes Detroit Artists

Electric Guitars:
Patrick Grant, Jeff Adams, Aileen Bunch (Philadelphia), Jude Closson, Christoph Götzen (Düsseldorf), Erik Grant, John Halo (NYC), Bob Kaufman, James Keith La Croix, John Lovaas (Chicago), James McGlinnen, Chris McGorey, Chris Simpson, and Gerard Smith

Baritone Ukelele:
Frank Pahl

Electric Bass:
Aaron Butler (Columbus), Alex Durante (Washington D.C.), and Sarah Metevier Schadt (Chicago)

Skeeto Valdez, Zac Bru, and Gael Grant

Associate Producer:
Jocelyn Gonzales (NYC)

Stage Manager
Rob Knevels

Read more iNFO HERE

06 FEB 19

SIx Weeks Away...


27 JAN 19

APPLICATIONS Are Now Being Accepted

APPLICATIONS are being accepted for musicians and other performers interested in being a part of
. Performances are on March 20, 23, and 24.

ALL participants, even if you’ve tilted with us before, MUST register via the Google Form: 

Selected performers will receive an honorarium $$$
Apply soon. This application will close without notice.

25 JAN 19

Just Announced > TILTED AXES To Perform at The Henry Ford

The Henry Ford Museum of American Innovation
TILTED AXES DETROIT - music for mobile electric guitars
in a procession and performance with premieres
throughout the exhibits of the museum.

23 MARCH 2019 at 1pm


24 JAN 19


In partnership with Third Man Records Cass Corridor
March 2019 - More iNFO TBA

19 JAN 19

30 Years Ago Today >>>

30 YEARS AGO TODAY, January 19, 1989, I produced my first concert in NYC, the inaugural performance of the SILENT TREATMENT music series. We were a group of composer/performers and musicians presenting original music for concert, theater, and dance.

More iNFOhttps://bit.ly/2W5F3G7 

07 JAN 19

TILTED AXES 2019 Producers and Updated Roster (so far)

Thank you everyone for joining our team this season!

Performers from our tilts in North America, South America, and Europe.

03 JAN 19

PG Wins an ASCAP Plus + Award

Happy to get news that I have received an ASCAP PLUS+ AWARD (ka-ching!) from its Concert Music Division for "2018's cycle of compositions, recordings, & performances." This marks a number of consecutive awards from ascap.com now, years in a row.

These awards are given to "...writer members...whose works were performed in unsurveyed media as well as writer members whose catalogs have prestige value.”

Since much of the work takes place off-the-beaten path (that would be in-every-sense in Tilted Axes' case), it's great that our pioneering spirit gets recognized.

My deepest gratitude to the American Society of Composers, Authors & Publishers (ASCAP).

Thank you! - PG & the crew askew

01 JAN 19

Happy New Year!

28 DEC 18

COVER STORY: Tilted Axes Recent Winter Soltice Performance in NYC

If you feel the need to simplify composer Patrick Grant’s long-running “Tilted Axes” project, you could call it a marching band for electric guitars. But given the complexity of the compositions and the dedication of the musicians, that description falls way short.

The latest performance of Grant’s “Music for Mobile Electric Guitars” was realized by 24 musicians, including Grant, on the winter solstice, in the Sasaki Garden at Washington Square Village, “The Alamo” at Astor Place a.k.a. “The Cube” and the streets between.

The event was commissioned by Faculty Housing Happenings at New York University — where Grant is a professor — as part of “Make Music New York.” The confab featured music evenly divided between older pieces, structured improvisations and premieres written specifically for Friday night.

One of the new pieces, “Tiltinnabulation,” was written to include another Make Music group, “Bell By Bell.” According to Tom Peyton, the leader of that multigenerational group of bell ringers, they were notified that their path might cross with “Tilted Axes” and they were given the choice of avoiding each other or playing together.

Happily, they chose to do two numbers together at “The Cube” and the result was a perfect combo of chiming guitars and bells. Guitarist Angela Babin, a “Tilted Axes” veteran, called the collaboration “fabulous!”

“It was like a ‘West Side Story’ gang meet-up, with music and camaraderie and solstice celebration love,” she said.

Carrying an electric guitar and an amp through the streets while playing somewhat complex music is a daunting task, but the participants found it more than worthwhile.

“The universal joy of the people we encountered on our parade route caused me to transcend the discomfort I felt at not being fully in command of the music, the weight on my back and shoulders,” David Demnitz said.

Sam Weisberg voiced a similar sentiment, noting, “It’s a rush like no other. It was so worth the chronic right-shoulder pain!”
Grant made it through the balmy evening with a case of laryngitis that forced him to hoarsely whisper directions to bassist Sarah Metivier Schadt, who amply conveyed his instructions to the crew.

“There are many unforeseen elements that we could never have predicted,” Grant reflected. “We’re thinking on our feet, we’re performing live, we’re adjusting to the public in real time. Being there, mobile, right up against the public, brings out musical choices that we’d never come up with in rehearsal. There’s nothing like it.”

Onlookers concurred.

“The public went nuts, in a good way!” Grant enthused. “We couldn’t be happier.”

more at The Villager

23 DEC 18

TILTED AXES: Winter Luminaria & Cold Moon Consort

COLD MOON CONSORT - Dec. 21 & 22, New York City




13 DEC 18

New Interview for Make Music New York

Winter Luminaria with Tilted Axes
Make Music New York’s Executive Director, James Burke, spoke with composer Patrick Grant and Erin Donnelly, Community Liaison for the NYU Office of Faculty Housing & Residential Services about “Winter Luminaria with Tilted Axes,” a new Make Music Winter procession for the 2018 season.

Read the interview HERE

11 DEC 18

Tilted Axes 2019 Rehearsal and Development Fund

Dear People!

PLEASE consider making a *tax deductible* contribution during this short campaign for
TILTED AXES: Music for Mobile Electric Guitars HERE > https://bit.ly/2QkJldE.

The goal is clear: to raise $2500 for rehearsal space and guest artist fees for January-June 2019.

TILTED AXES is ready to create new music and movement-based performance throughout
the urban landscape and into unexpected venues once again.

Please be a part of our team!

07 DEC 18

A Thank You to Our TILTED Sponsors!

Tilted Axes' sound is powered by Vox Amps through the courtesy of our friends at Korg USA.

Tilted Axes thanks everyone who has made this music possible, especially NYU Faculty Housing Happenings, Aaron Friedman and James Burke at Make Music New York, and the kindred spirits at NYU Tisch School of the Arts and Alchemical Studios for rehearsal space.

We also give thanks to Rivington Guitars for their ongoing support.

Our biggest shout-out is reserved for our numerous satellites, standard bearers, and extended family around the world who do what's possible (plus 10%).

Fractured Atlas is the fiscal sponsor for Tilted Axes. Won't you consider making an end-of-the-year tax-deductible contribution today for our future productions?

> Go to this link <

01 DEC 18

PROG Magazine Review of "FIELDS AMAZE..."

PROG Magazine 93 (UK) - ALBUM REVIEW

Thank you PROG magazine for listening to FIELDS AMAZE

“...an intricate mosaic of themes…but there is a particular lightness about it, like a stone being skimmed across a lake.”

“...keyboard themes circle round but sound like they are twisting themselves inside out on a Möbius strip.”

“...frantic chases through dark woods and dramatic surging guitar chords when the monster’s face is finally revealed.”

“…eerie dream sequences and spooky still-life passages…”

“...richly melodic…relentless.”

PG Fields Amaze Pagehttp://www.strangemusic.com/famaze.html

28 NOV 18

A Make Music New York First!

On December 21st, as part of Make Music Winter 2018, two groups will cross paths in NYC and perform a collaborative piece together. Tilted Axes: Music for Mobile Electric Guitars’ Patrick Grant and Bell By Bell’s Tom Peyton will have their groups perform at The Alamo, the Astor Place Cube, ca. 5:55 pm to ring in the new season with the premiere of a new composition, "Tiltinnabulation."

More Cold Moon Consort details TBA at http://tiltedaxes.com/tiltedaxes.html

18 NOV 18

PG Interview in Ultimate Guitar About Tilted Axes Relaunch

"This.Is.Huge. - SO grateful to Ultimate Guitar and its 12 million subscribers for letting me answer questions about Tilted Axes, Make Music Winter, NYU, Guitar Craft & Circles, Balinese gamelan, Vox amps, and group dynamics, small and large." - PG

Read the interview HERE

15 NOV 18

TILTED AXES: Cold Moon Consort
Performers and Participants

Pictures and Bios HERE

09 NOV 18

Six Weeks From Today


24 OCT 18

Tilted Axes Application Form For Guitarists

Are you a guitarist who is interested in participating
In Tilted Axes December NYC performances?
Please apply by filling in your information here:


Positions in the ensemble are limited
Please apply ASAP - Please share

17 OCT 18

"A Sequence of Waves" is an official entry in the 61st Grammy Awards Nominations!

- It's a thrill to see the album "A SEQUENCE OF WAVES" and two of its tracks, "One Note Samba" and "Seven Years at Sea," entered into the first round of nominations.

If you are a voting member of the Recording Academy / GRAMMYs, please consider this critically acclaimed work during this awards season. Web page

15 OCT 18

Winter Luminaria with TILTED AXES: Cold Moon Consort
Make Music Winter NYC - Dec. 21

Winter Luminaria with Tilted Axes: Cold Moon Consort
Sasaki Garden in Washington Square Village through Greenwich Village and back. Event begins at 5:00pm and runs 120 minutes.

Composer Patrick Grant and Tilted Axes: Music for Mobile Electric Guitars, in partnership with NYU Faculty Housing Happenings, present an evening of innovative musical performance featuring a procession through Greenwich Village that begins and ends with a solstice soundscape in honor of Sasaki Garden set aglow with enchanting lights. The evening’s musical commission is titled “Cold Moon Consort” in reference to 2018’s winter solstice and the December full moon occurring within the same day. Arrive at Sasaki Garden at 5:00pm and receive a small flashlight to participate in the spectacle and illuminate the performance route.

The music procession kicks off in Sasaki Garden, located in Washington Square Village, just north of Bleecker Street and west of Mercer Street, at 5:00pm and wends its way throughout Greenwich Village before returning to the garden for the finale.

Just arrive at Sasaki Garden by 5:00pm to receive a small flashlight to participate in the spectacle and illuminate the performance route!

Tilted Axes was created in 2011 for the inaugural Make Music Winter festival by Detroit-born, NYC-based composer/performer Patrick Grant. Tilted Axes cuts musical pathways through the urban landscape, turning neighborhoods into their own sonic narratives. Since its inception, Grant has produced a number of Tilted Axes processions in various cities upon three continents.

NYU Faculty Housing Happenings include occasional open to the public community events designed to celebrate outdoor spaces on the superblocks headlined by Sasaki Garden, one of the finest modernist landscapes in the city. Recommended by the Superblock Stewardship Advisory Committee, community events are generously supported by Provost Katherine E. Fleming and organized by Erin Donnelly, Community Liaison, Office of Faculty Housing & Residential Services. More info at https://www.nyu.edu/faculty/faculty-housing/happenings/Winter_Luminaria.html

09 OCT 18


01 OCT 18


available at
iTunes ~ Amazon ~ Google ~ BandCamp

listen on

Spotify ~ Tidal

Patrick Grant
and other sTRANGE music

20th Anniversary Edition: remixed + remastered + reimagined w/ bonus tracks

"Unexpected rhythms, outside of the box instrumentation, and a completely uncompromising barrage of artistic individuality. Innovative... exciting... mind-blowing... Patrick Grant's FIELDS AMAZE will leave you speechless." - Alternative Nation

"FIELDS AMAZE has a driving and rather harsh energy redolent of rock, as well as a clean sense of melodicism ... the music's momentum and intricate cross-rhythms rarely let up, making the occasional infectious tunes that emerge all the more beautiful for surprise." - The Village Voice (RIP)

"Created for percussion and tuned instruments, it’s a varied collection of instrumentals that – to my ears, anyway – owes more to Steve Reich and/or Edgard Varèse. It also (at least some of the time) sounds a bit like a more conventionally tuneful answer to Frank Zappa’s Jazz From Hell.” - Musoscribe: Bill Kopp’s Music Blog
“‘FIELDS AMAZE' (the track) has this X-Files urgency to it as electric keys rush through with the darkness of the piano...it reminds me of the soundtrack to a John Carpenter movie...” - Raised By Gypsies
"With a mixture of homages to 60s and 70s cinema and the traditional piano overtures, Grant excels at arranging all of these tracks into more than a remake, but rather a collection of new tracks.” - The Music Court

"'FIELDS AMAZE and other sTRANGE music' contains a hodgepodge of intricate rhythms played in unconventional and experimental ways using a variety of instruments and methods.” - Know More Music
“This music is soul warming and at times so strange that the world surrounding us acts as if its changing.” - Metal Centre

"It is quite strange...I’m left wondering what I just listened to.” - The Weekly Spoon

percussion quintet

2. FIELDS AMAZE (8:31)
homemade gamelan & microtonal keyboard

flute, clarinet, & piano

three keyboards in Gb just intonation & three percussion

flute, clarinet, & piano

6. IMAGINARY HORROR FILM - Part 1 (8:37)
electric chamber ensemble
The Accident - Hospital - Nine Months Later
Daily Living (Gnossienne) - Baiting the Trap - Going for a Drive

a.k.a. Fractured Fictions
three electronic keyboards & drum kit

8. IMAGINARY HORROR FILM - Part 2 (7:27)
electric chamber ensemble
Cemetery - Hitchhiker No. 3 - Unsuspecting Victim
Under the Knife - Evening Prayer - New Day to Face - End Title

singer vs. thesaurus

Total Running Time (61:12)

℗ and © sTRANGE Music Inc. d/b/a Peppergreen Media, 2018. All Rights Reserved. www.peppergreenmedia.com

Patrick Grant: piano, keyboards, electric guitars, gamelan, percussion 
John Ferrari: drums & percussion
Kathleen Supove & Marija Ilic: keyboards
Barbara Benary: additional gamelan
David Simons: Balinese percussion & theremin 
Keith Bonner: flute
Thomas P. Oberle: clarinet
Darryl Gregory: trombone
Martha Mooke: viola
Maxine Neumann: cello
Mark Steven Brooks: electric bass
Alexandra Montano: vocalise
Lisa Karrer: lead vocal on If One Should Happen to Fall

All 2018 production, overdubs, revisions, and new stems recorded at Peppergreen Media, NYC and The Ferrari Factory, NJ. Mixed at Mercy Sound Studios, NYC - Garry Rindfuss: mixing engineer - Sheldon Steiger: album mastering - Patrick Grant: producer

Cover photo Cuming Co. Supercell, June 14, 2013 taken by Dave Rebot and used with permission. Flowchart graphic by Peppergreen Media. Album artwork, layout, and design by Eric Iverson. Peppergreen Media logo by Steve Ball. CD image collage inspired by Elément bleu XII, 1967 by Jean Dubuffet, photo credit: sTRANGE Music archive.

All music © 1997-2018 Patrick Grant and published by Peppergreen Media (ASCAP). This album ℗ and © 2018. All rights reserved.

Recording history: Tracks 2, 3, 4, 5 stems recorded and edited at Philip Glass' Looking Glass Studios, NYC, 1997 - Garry Rindfuss: recording engineer - Dante DeSole: asst. engineer and editor - Ryoji Hata: asst. editor - Amanda Riesman: administration - gamelan instruments provided by Barbara Benary and Gamelan Son of Lion - large kendang drum and additional gongs provided by Skip LaPlante and Music for Homemade Instruments - originally released on the album Attack Decay Sustain Release by sTRANGE Music Records 1998 - Tracks 1, 6, 7, 8, 9 stems recorded at sTUDIO 41, NYC, 1998-2000 - Patrick Grant: recording engineer and editor - originally released as a Special Edition EP for the Brooklyn Academy of Music (BAMcafé Live) by sTRANGE Music Records, 2000.

This album ℗ and © sTRANGE Music Inc. / Peppergreen Media, 2018. All Rights Reserved.

28 SEP 18

TODAY: Bandcamp Voting Rights Fundraiser

Today, September 28Bandcamp (from midnight to midnight Pacific Time), will donate 100% of their share of the proceeds towards the Voting Rights Project. When you buy music today on Bandcamp you will help protect the right to vote and ensure that right is afforded equally to all. Thank you!

>>> https://tiltedaxes.bandcamp.com/

15 SEP 18

FIELDS AMAZE Press Release Featured on Broadway Music World

Go to Broadway Music World HERE

05 SEP 18

Pre-orders available now on Bandcamp 

FIELDS AMAZE and other sTRANGE music

release date October 1st

Bandcamp page HERE

24 AUG 18

International sTRANGE Music Day: 20th anniversary celebration

02 AUG 18

Award-Winning Vocal Group ROOMFUL OF TEETH Mixed By sTRANGE Music's Patrick Grant for Public Radio International's STUDIO 360

Composer/producer Patrick Grant / sTRANGE Music contributed distinctive musical mixes to this week’s episode of Studio 360 with tracks performed by Roomful of Teeth. This episode includes musical selections composed by Pulitzer Prize winner Caroline Shaw, Rinde Eckert, and others.

Listen online, download as podcast, or find it on a public radio station near you.

Roomful of Teeth
is a cutting-edge, eight-person vocal ensemble that commissions and performs music of all sorts of genres and techniques from all over the world. They’ve studied yodeling, Tuvan throat singing, Sardinian cantu a tenore, Korean pansori, etc.

“We study with masters from these other singing traditions and get some degree of comfort and flexibility from those interactions,” explains founder and director Brad Wells. “And then the commissioned composers observe that process, hear what the singers are capable of and then explore, ‘Given these possibilities what might I create?’



28 JUL 18

Patrick Grant Group - sTRANGE MUSIC
premiere concert 20 years ago today

FB photo set:

11 JUL 18


& other sTRANGE Music
20th anniversary edition


27 JUN 18

Austin Film Festival - Fiction Podcasts

Congratulations to Peppergreen Media’s Jocelyn Gonzales on being named one of the judges in the upcoming Austin Film Festival Oct. 25 to Nov. 1!

The category is Fiction Podcast

Filmmakers and podcast people still have time to submit their work (July 6 deadline):

More information at:

13 JUN 18

NEW ALBUM: editing & mixing begins TODAY

Tracking is complete save an overdub here or there. Many guest artists. Surprising ones. Happy to have our production team reassemble for this work – Garry RindfussSheldon SteigerJohn Ferrari, and Mercy Sound Recording Studios NYC ~ #newmoon

09 JUN 18

PG Creates Radio Mixes for ROOMFUL OF TEETH

creates *distinctive* mixes of the Grammy Award-winning vocal group Roomful of Teeth for broadcast later this summer on public radio's Studio 360. Composers include the Pulitzer Prize-winning Caroline ShawRinde Eckert, & Judd Greenstein#music #mixing #producer #podcast

01 JUN 18

The MMiXdown is updated with the latest interviews, reviews, etc...

Check out all the new content HERE

15 MAY 18

PG Interview in "It's Psychedelic Baby Magazine"

"The NYC-based composer and performer Patrick Grant has had a long and gleaming career that continues on with his newest release, A Sequence of Waves (Twelve Stories and a Dream). The album is a refined collection of genre-bending and experimental tracks that many critics struggle to pin down. Stumbling into post-minimalism, modern classical, prog rock, and post-rock territory, the album wears many masks. And for good reason, given Grant’s accomplished background."

Read the It's Psychedelic Magazine Baby interview HERE

04 MAY 18

Detroit Music Award for Outstanding Classical Recording

It was an honor to be nominated for Outstanding Classical Recording in The Detroit Music Awards and my warmest congratulations to winner The Detroit Symphony Orchestra for their recording of Aaron Copland's "Symphony No. 3."

I mean, who wouldn't be humbled to step aside for the work that contains "Fanfare for the Common Man"? 

#thumbsup !!!

01 MAY 18

PG Interview in ECHOES AND DUST (UK)

The creator of Tilted Axes: Music for Mobile Electric Guitars discusses his recent album A Sequence of Waves and his Detroit Music Awards nomination for Outstanding Classical Recording.

"Only classical compositions and that kind of inter-related album architecture could pull together elements of rock, world, and techno into a cohesive whole that goes beyond mere pastiche and that is integrated into its core." Ljubinko Zivkovic chats to experimental / prog musician Patrick Grant.

Read the complete interview HERE

20 APR 18

One-Word Questions with Extremely Long Answers regarding "A Sequence of Waves" by Patrick Grant

Recently a music zine proposed eight written questions to composer and performer Patrick Grant about his latest album “A Sequence of Waves.” Grant sent in written responses and received this reply from the editor:

“Your answers are wonderful but they are extremely long… typically these are one-sentence answers… (the) internet is a short attention span thing. People scan, look for a link or something to watch and then move on. They do not linger like with a newspaper article. Thanks!”

Grant obliged them and resent completely different answers, all of them one-sentence long.

Published on The MMiXdown are his original replies. The music zine’s questions have been replaced by distilling down their essence to one word each.

You can read it HERE

14 APR 18

Detroit Music Awards Final Ballot: "A SEQUENCE OF WAVES"
is nominated for Outstanding Classical Recording

Thank you Detroit Music Awards for nominating my album "A Sequence of Waves" for OUTSTANDING CLASSICAL RECORDING!

An even bigger thanks is due to all of the musicians, artists, and engineers who helped create it.

More iNFO:

29 MAR 18

Patrick Grant Interview for Fireworks Magazine UK

"Rock and metal? It's there, it's in the mix, it's part of the story.
Thanks to everyone at Fireworks UK for their extra wide listening." - Patrick Grant

INTERVIEW - Fireworks Magazine (UK) interview with musician and producer Patrick Grant, creator of A Sequence of Waves (twelve stories and a dream) released on the Peppergreen Media label. By Nicky Baldrian http://www.rocktopia.co.uk/

"The last time we spoke, you were talking about your Detroit origins in classical and rock music, your early avant-garde theatrical work in New York City, but mostly about your album Tilted Axes: Music for Mobile Electric Guitars..."

Q: What’s coming up next for Tilted Axes?

Q: What do you mean when you say “film sound and associated disciplines?”

Q: What’s affecting your current work?

Q: You’re a professor two days a week. What about the other five days?

Q: What do you think are the standout tracks on your new album, "A Sequence of Waves"?

Q: What are your interests outside of music?

Q: What's in store for the future?

Read the complete interview HERE

15 MAR 18

#TBT - Creating & Performing THE LADDER OF RED at The Watermill Center w/ Robert Wilson & Andrey Bartenev

15 MAR 18

#TBT - METRO TIMES Cover Story
composer Patrick Grant & the Tilted Axes project

Read the article HERE

02 MAR 18

PG and A Sequence of Waves Receive 7 Detroit Music Awards Nominations!

Thank you to the 2018 Detroit Music Awards for seven nominations for "A Sequence of Waves," writing, performing, and, what is very special to me, outstanding record producer. The ceremonies will take place at The Fillmore Detroit on May 4th.

The Detroit Music Awards Foundation's mission is to recognize Detroit area musicians working on a national, regional and local level. Their purpose is also to support and nurture the musical community in the Detroit metropolitan area, and to create a network for musicians that cuts across genres and styles.

15 FEB 18

Videos with Music by PG in The Bass Museum's Permanent Collection

Miami Beach: The Bass Museum of Art has just added to its Permanent Collection two videos by the artist Gary Beeber with original music by Patrick Grant. These videos are “Happy Ride, Coney Island” and “Victoriana,” both created in 2005.

More iNFO
TBA at https://thebass.org/

Artist’s note: "Happy Ride" premiered at The Coney Island Film Festival, it was also played continually at the Coney Island Museum.  It was also exhibited at the first Slapstick Festival, 2005, Bristol, England.

This was my first video, shot in 2005, several years before Coney Island’s famed amusement park was sanitized and modernized.  At that time everything was shabby and the rides seemed to be on their last legs. I particularly loved those rides, even though they were barely functioning. With this piece I wanted to show motion and bright color.

I was privileged to work with composer Patrick Grant who wrote and performed the music for this piece.

Composer’s note:  "Coney Island is an American icon.  Like that, much of the score is made up of musical icons that are associated with the park: calliope, hurry-gurdy, doo-wop, blues, and a good dose of rock and roll.  The score uses the uneven lengths of the edits to predetermine measures, beats, and time signatures.  In this way the music is the audible equivalent of seeing oneself in a fun house mirror."

Artist’s additional note on “Victoriana"I commissioned composer/musician Patrick Grant to create music combining hip-hop and opera.  Meredith Borden sings a soprano melody with three repetitions, each one with additional instruments and new harmonies. This reflects the increasing complexity and pace of the visuals.

Photos: (top) from The Bass Museum web site, (bottom left) from “Happy Ride, Coney Island” by Gary Beeber, (bottom right) from “Victoriana” by Gary Beeber.

12 FEB 18

Artist Kehinde Wiley Unveils His Official Portrait of President Barack Obama

Congratulations to Kehinde Wiley for his portrait of President Barack Obama that was unveiled this morning. I've had the honor of composing and music directing for a number of Kehinde’s openings and videos over the years at Roberts Projects (LA)The Columbus Museum of Art, The Modern Art Museum of Fort Worth, The Studio Museum in Harlem, Deitch Projects (NYC), and others. The Smithsonian-commissioned portrait was revealed today at The National Portrait Gallery, Smithsonian Institution. - PG

30 JAN 18

San Franciso Classical Voice Review: A Sequence of Waves

by Allan Kozinn

Classical Musicians Aren’t Hiding Their Rock Enthusiasms Anymore (excerpt)

Patrick Grant’s new album, A Sequence of Waves (Twelve Stories and a Dream) (Peppergreen Media) drives that point home. Grant began his career, after all, writing chamber music and incidental theater music, mostly using conventional classical instrumentation. He made his way towards electronic works and certain corners of non-European musics — the gamelan, most notably — in the 1990s. But he also spent some time with the Orchestra of Crafty Guitarists, a project directed by Robert Fripp, the founder of, and creative force behind, King Crimson. Electric guitars began turning up in Grant’s music as early as 1986 (in The Power of Light, for electric guitars, bass, synthesizers, and percussion), and if his use of rock instrumentation was sporadic back then, his experiments have become bolder — and, it seems, the central focus of his work — over the past decade.

A Sequence of Waves (Twelve Stories and a Dream) is a fascinating merger of the universes Grant inhabits. “Lucid Intervals,” its opener, is a Trojan horse: It begins as a Glassian chamber score, with a repeating viola figure around which a string, keyboard, and percussion ensemble weaves an increasingly ornate, contrapuntal fabric before crashing into chaos – and a swirling, electronic ending that tells you that this won’t be a conventional post-minimalist collection.

From there, it’s quickly down the rabbit hole. “Driving Patterns,” the second track, begins with a 1960s pop reference, in the form of the brisk repeating oscillation of a fifth that opens the Easybeats’ “Friday on My Mind.” Beyond that first few seconds, the figure never returns; instead, the piece grows into a punchy texture with angular melodies in a style that brings Fripp’s work to mind.

It’s not the last we hear of that style: In the insistently riffy “To Find a Form That Accommodates the Mess” and “Breaking Butterflies Upon a Wheel,” Grant’s distortion-laden guitar toggles between Fripp-style solo lines and quasi-Minimalist repeat-and-morph figures, which are set against an assertive, tightly interlocking guitar, keyboard, bass, and drums backdrop. And there is a distinct Zappa influence in “Firearms” (the finale of a mini-suite that also includes “Alcohol” and “Tobacco”) and in the “Primary Blues,” which pulls together blues riffs, Leon Russell-like piano punctuation, a recurring touch of 60s go-go music, unpredictable rhythmic play, and screaming metal guitar solos, played by the composer-guitarist Nick Didkovsky

There is a lot to be said for the energy Grant and his ensemble bring to these pieces, but the collection’s real joy is its variety. True, “Prelude I” introduces another 60s reference (a reconfigured version of the riff that opens Johnny Rivers’ “Secret Agent Man”), but that piece and “Prelude II” are richly-detailed studies for solo electric guitar and some of its sound-shaping devices.

Seven Years at Sea” and “Lonely Ride Coney Island” are largely electronic essays, the first built around looped and heavily processed excerpts from a 1934 Library of Congress recording of sea chanties, sung by Elita, Mary, and Ella Hoffpauir, and the second a wistful soundscape of electronic keyboard washes and what sound like sequencer riffs that begins to brighten, at least slightly, with John Ferrari’s drum entrance at the piece’s halfway point. And the album’s closer, the only piece not by Grant, is a radically reworked version of Antonio Carlos Jobim’s “One Note Samba,” for telephone tones and rock band.

Allan Kozinn (@kozinn) began writing about music for The New York Times in 1977, and served on its culture staff from 1991 to 2014. He was born in New York and studied music and journalism at Syracuse University.

15 JAN 18

It's an Anniversary Year

more iNFO TBA

05 JAN 18

"DETROIT INDUSTRY" by Diego Rivera, music by Patrick Grant

1 of 3 (string orchestra version)
, The Diego Rivera murals at the Detroit Institute of Arts, music © 2008 by Patrick Grant / www.StrangeMusic.com, performed by SONYC: String Orchestra of NYC

2 of 3 (electric guitar version), The Diego Rivera murals at the Detroit Institute of Arts, music © 2013 by Patrick Grant, performed by Tilted Axes: Music for Mobile Electric Guitars and recorded as "Rivera Court" ℗ 2016 PGM1601 (ASCAP). Premiered March 20, 2013 at the Detroit Institute of Arts, Detroit, MI

3 of 3 (techno music version)
, The Diego Rivera murals at the Detroit Institute of Arts, music © 2011 by Patrick Grant / www.StrangeMusic.com, performed by Hi-Q

01 JAN 18


28 DEC 17


"Happy to get news that I have received an ASCAP PLUS+ AWARD for 2017's cycle of compositions, recordings, & performances. This marks a number of consecutive awards, years in a row. 

These awards are given to '...writer members...whose works were performed in unsurveyed media as well as writer members whose catalogs have prestige value.' 

Since much of this work takes place off the beaten path, it's great that its pioneering spirit gets recognized. My deepest thanks to the American Society of Composers, Authors & Publishers (ASCAP)." -PG

21 DEC 17

TILTED AXES First Premiered 2011

#TBT 2011 ~ On this day, Tilted Axes: Music for Mobile Electric Guitars was born when it performed as part of Make Music New York. It has been through a number of incarnations since and will be returning in 2018 as part of the RENEWABLE RIFFS project #solarpower

Photo by Emon Hassan from his TILTED AXES documentary (2012)

10 DEC 17

A SEQUENCE OF WAVES Tops Best of List in Canadian Progressive Radio !!!


- We're shocked (and happy) to be on this list of Top Twenty Five Albums of 2017The NBTMusic Radio Station & Martin NBTProject (Canada & Germany) play all kinds of great #progressive music and I'm happy this album resonates with their listeners.

Thank you! >>> http://nbtmusic.de/best-albums2017-top-100/ #classical #jazz #rock #world

25 Labyrinth Lounge – Porgy
24 Priests – Nothing Feels Natural
23 Sampha – Process
22 Courtney Barnett and Kurt Vile – Lotta Sea Lice
21 Bobbo Byrnes – Motel Americana
20 St. Vincent – MASSEDUCTION
19 Russell Joslin – Hey Mathematician
18 Wolf Alice – Visions Of A Life
17 Various – Alternative Melodies Vol 6
16 Perfume Genius – No Shape
15 Arcade Fire – Everything Now
14 Murmur Tooth – Dropping Like Flies
13 Noga Erez – Off The Radar
12 Lorde – Melodrama
11 Andrew Kay – Brand New Suit
10 Spook – Because ( Gary Herselman and Die Lemme )
9 A Tree Grows – A Tree Grows
8 Kendrick Lamar – Damn
7 Gorillaz – Humanz
6 Dirty Projectors – Dirty Projectors
5 TOKYO ROSENTHAL - This Minstrel Life
4 Sudan Archives – Sudan Archives
3 The XX – I See You
2 Agency – Resist 
1 Patrick Grant – A Sequence Of Waves


08 DEC 17


by Paul Naser
December 08, 2017
Four out of five stars

Multi-instrumentalist and composer Patrick Grant's music can be difficult to classify. This is probably, at least to a degree, intentional. The NYU film school professor and multiple-time ASCAP Plus Award winner was a long time member of the legendary Robert Fripp's Orchestra of Crafty Guitarists and has scored multiple theater and dance companies' projects. 

Those with even a passing familiarity with Fripp's work, which became iconic during his time with the relentlessly experimental, impossible to categorize King Crimson, will correctly assume that Grant's music has a forward-thinking edge. Fans of King Crimson, Fripp, progressive rock, or contemporary film scoring a la Hans Zimmer will undoubtedly find much to appreciate in Grant's latest release A Sequence of Waves (Twelve Stories and a Dream), as will people with eclectic musical tastes or those with an affinity for unique instrumentations and rhythmic complexity. 

The instrumentation on the record varies widely, but is glued together by consistently compelling rhythmic motifs and development. The timbres range from distorted electric guitars to beautiful swelling synths to acoustic percussion and strings. They manage to work together very well, such as in the beautifully composed and produced "Seven Years At Sea." Other highlights include the rhythmically intense, and aptly named, "Driving Patterns," as well as the epic "To Find a Form That Accommodates the Mess." The album even includes an extremely original cover of Antonio Carlos Jobim's "One Note Samba," that at the very least warrants one listen through, if not three or four. 

From the unique and inventive production to the remarkably creative compositions and the uncommon and effective instrumentations, fans of innovative creative music would do well to give this record at least one listen through. Then see if the genre-defying work doesn't have you coming back for multiple listens, if for no other reason than to figure out exactly what was going on.

Track Listing: Lucid Intervals; Driving Patterns; Prelude I; Alcohol; Tobacco; Firearms; Seven Years at Sea; Breaking Butterflies Upon a Wheel; Lonely Ride Coney Island; Primary Blues; Prelude II; To Find a Form That Accommodates the Mess; One Note Samba

Personnel: Patrick Grant: guitar, bass, viola, piano, keyboards and percussion John Ferrari: drums, mallet instruments, percussion and production; Nick Didkovsky: guitar solo on "Primary Blues"; Dan Cooper: 7-string electric bass; Lynn Bechtold: violin; Dan Barrett: cello

Title: A Sequence of Waves (Twelve Stories and a Dream) | Year Released: 2017 | Record Label: Peppergreen Media

07 DEC 17


"Announcing RENEWABLE RIFFS – a 2018 project for electric guitars, orchestral instruments, and the sun!

Sustainable energy awareness is raised in a partnership between composer Patrick Grant & Solar One (NYC’s first self-sustaining solar powered building) with new music promoting Solar One's Stuyvesant Cove Park facility on the East River and its energy education programs.

These new works will have their premiere as part of RENEWABLE RIFFS and performed by TILTED AXES.

More details to be announced by soon. #classical #jazz #rock #world

11 NOV 17

A New and Dedicated Web Page for A SEQUENCE OF WAVES

Official release date October 24
Click HERE

31 OCT 17


We're all celebrating with a video release:
composed and performed by Joseph Keckler
musical arrangement by Patrick Grant
produced and mixed by Isaac Levine
mastered by Patrick Derivaz

full credits @ video

27 OCT 17

album previews & other news Oct. 20-27

Sputnik Music

WNYC New Sounds
Echoes of Crafty Guitar

The Ripple Effect
the site for the musical omnivore

WHUS 91.7 FM ~ Pushing the Envelope
Music Decidedly Left of Center

New Prog Releases

NBTMusic Radio Station
Ontario, Canada

Radio Onde Furlane
FM 90.0 Udine, Italia

14 OCT 17

by Layla Marino, YourEDM


New York experimental producer Patrick Grant is best known for his fantastic guitar skills and his interesting composition, but by all accounts electronica usually takes a back burner in most of his work. By any and all EDM fan accounts, said electronica doesn’t even come close to actual EDM but stays firmly planted on the experimental side of things. Such is generally the case with Grant’s sophomore album, A Sequence of Waves, with one glaring exception: track nine, “Lonely Ride Coney Island.” Here, Grant ventures out from his usual Dadaist classical/guitar structure and goes right past ambient electronica into legitimate EDM territory.

“Lonely Ride Coney Island” doesn’t give the impression at first that it will be anything other than ambient electronic music as it opens, with not much of beat and, surprisingly, none of Grant’s ubiquitous guitars. The track is indeed more along the lines of a spacey, modernized version of a Tangerine Dream song for nearly the first half of the track. Then it is surprisingly the introduction of a quite clearly analog drumset and finally the guitars which push this track into EDM territory. Why? Quite simply the setup and the beat which follows. As the track moves into the guitar and drum portion, there is an actual drum break and buildup into this section. The spacey, ambient vibe continues and that definitely adds to it but now because of the drums, which straddle house and old school breakbeat we suddenly have a danceable electronic track: EDM.

It’s unclear whether Patrick Grant intended to move the ambient, spacey work that is “Lonely Ride Coney Island” into EDM territory, but that’s what he effectively had. Listening to the track it’s almost like listening to the birth of EDM out of the miasma of ambient electronica. It’s an interesting study in what pushes electronic music into electronic dance music.

A Sequence of Waves is out now.

13 OCT 17

– album previews Oct. 6 to Oct. 12

Progressive Music Planet

Maxxxwell Carlisle


Music Street Journal

Ellenwood EP

Rock Expert

Metal Express Radio

06 OCT 17

– album previews Sept. 28 to Oct. 5

Vancouver BC, CA
- http://bit.ly/2xjhM68
Kansas City, MO
- http://bit.ly/2xcMzpW
Zulia, Venezuela
- http://bit.ly/2yGAoOs
London, UK
- http://bit.ly/2kkn5Ru
Toronto, CA
- http://bit.ly/2y02Cqs
Budapest, Hungary - http://bit.ly/2y25i6c

28 SEP 17

– album previews Sept. 1 to Sept. 27

The Huffington Post - http://bit.ly/2fDYbaM
Alternative Nation - http://bit.ly/2xyIWtg
The Celebrity Cafe - http://bit.ly/2xqJEIK
Music News UK - http://bit.ly/2xrQ7Dq
For Folks Sake - http://bit.ly/2xlQpdk
CF Reviews - http://bit.ly/2hklo5z
GIGsoup - http://bit.ly/2jOw7FV
Indie Music Review - http://bit.ly/2ypFXkn
Album of the Year - http://bit.ly/2fQAMCX
Sensible Reason - http://bit.ly/2wlgpUN
Audible Addixion - http://bit.ly/2fNJySh
EKM.CO - http://bit.ly/2fyaVCT
Tattoo - http://bit.ly/2yCFL1Z

19 SEP 17

Single Coming Soon to Apple Music - iTunes

Official release date October 24
Available on Apple Music - iTunes HERE

From the album A SEQUENCE OF WAVES by Patrick Grant

The vocal track for “Sevens Years at Sea” (Sept Ans Sur Mer) is from “A Treasury of Library of Congress Field Recordings” (Rounder Records 1500) and is now in the Public Domain. It was recorded by John and Alan Lomax in Louisiana in 1934, and is sung by Elita, Mary, and Ella - the Hoffpauir Sisters.

“Perhaps no other sailor's chantey can compare with 'Seven Years at Sea' for fame and historical interest. It is one of the most extensively traveled songs of European folk repertoires.

Best known on the shores of Brittany and Poitou where it seems to have originated, It has spread across France and followed the seacoast into neighboring countries, north and south.

It occurs in Icelandic, Danish, Norwegian, Catalan, Portuguese, Spanish and Swiss (sic) versions. Thackeray adapted it for a humorous rhyme called 'Little Bille'.”

- from Our Singing Country by John and Alan Lomax

Seven Years at Sea (Sept ans sur mer) English translation

On stormy seas we six years sailed,
And never once green land we hailed.

The bitter seventh year came on,
We found our stores at last were gone.

We ate the mice, we ate the rats,
And through the hold we ran like cats.

And then at lots we took a try
To see which one of us would die.

"Look, little John, if chance does will,
It's you we'll take, it's you we'll kill.

"Too bad, Little John," they cried
"Oh, courage, comrades," he replied.

"For I see land on every side
And three white pigeons towards us fly."

"And I see lovely sisters three
Come walking down all by the sea

"And if I set my foot on land
I'll ask the fairest for her hand."

16 SEP 17

A Huge Thanks to Discipline Global Mobile...

A huge thanks to Discipline Global Mobile for mentioning Tilted Axes and the new album A Sequence of Waves within this stellar roster of artists and for including a link to a review by Celebrity Cafe.  #gratitude #adjustment #kingcrimson #robertfripp #adrianbelew#phobosanomaly #sarahlipstate #filthyfriends #billrieflin #gizmodrome #progmagazine

2 SEP 17

Album Preview in the Huffington Post
read it here: https://tinyurl.com/ydz4fhln

By Randy Radic

Patrick Grant recently dropped A Sequence of Waves (twelve stories and a dream), his latest album. Originally from Detroit, now living in New York City, he studied at the Juilliard School and worked with Billy Joel and Quincy Jones on an international project for the Millennium. The musicians on the album include Patrick Grant on guitar, bass, viola, piano, keyboards and percussion; John Ferrari on drums, mallet instruments and percussion; Nick Didkovsky on guitar; Dan Cooper on 7-string electric bass; Lynn Bechtold on violin; and Dan Barrett on cello.

Stylistically, Grant’s sound has transitioned from post-punk and classically minimal to Balinese-inspired gamelan and microtonality, followed by movement to an electronic environment revolving around layers of acoustic and amplified instruments.

The album contains thirteen tracks. The opening track is “Lucid Intervals,” a subdued classical number with a twinkling synth riding in the backdrop. Layered string instruments evoke muted textured patterns of great beauty. “Driving Patterns” presents a syncopated electronic sensibility, along with jazz elements, giving it a slightly industrial feel. “Prelude I” offers a classically-tinged melody infused with amplified guitars exuding orthodox riffs. The tune emits a metallic undertone.

“Alcohol” flows with a 1920’s classical melody, like something from The Sting. “Tobacco” delivers a quaint, almost bucolic rhythm, along with a minimal classical, antiquated melody that exudes a discordant effluvium, as it rides the piano. “Firearms” provides a rambunctious melody, chock-full of crime television vibes. The raucous piano gives the tune a mysterious, malevolent feel. “Seven Years At Sea” imparts an industrial feel, along with oceanic sound effects that array the tune in protective coloration. The tune was first recorded in 1932, so this is an overhauled cover.

“Breaking Butterflies Upon A Wheel,” proceeds along a crisp, frantic melody pulsing with tinny sound effects from the synth. The groove is solid with heavy rhythmic elements and buoyant harmonics. “Lonely Ride Coney Island” emanates a sleek, isolated environment rife with spectral sounds reminiscent of an underwater landscape. “Primary Blues” rides a deep bluesy melody that’s resplendent with jazz elements and a hint of boogie woogie hidden underneath. “Prelude II” radiates a classical alt rock flavor imbued with an exotic essence. “To Find a Form That Accommodates The Mess” is a turbulent progressive rock melody loaded with truncated frenetic harmonics, giving the tune a transient avant-garde quality.

“One Note Samba” is a cover of the Brazilian classic by Antonio Carlos Jobim. Grant’s version is eccentrically sublime, emanating bright sonic colors that project declarative causality.

A Sequence of Waves initializes a cogent ambient atmosphere in combination with classical and contemporary components. It’s moderately experimental, but doesn’t cross the line into strange or weird. Thus it’s eminently listenable.

09 SEP 17

Lonely Ride Coney Island
- video

from the album
(twelve stories and a dream)
by Patrick Grant

and an award winning
Coney Island Film Festival

Best Feature Documentary

keyboards, guitars, & bass: Patrick Grant
drums & percussion: John Ferrari
mixing engineer: Garry Rindfuss
mastered by: Sheldon Steiger
video (c) Gary Beeber Graphics
music (c) 2017 Patrick Grant + Peppergreen Media (ASCAP)

01 SEP 17

Coming Soon On iTunes & Apple Music


Google Music




Official release date October 24

Link to iTunes and Apple Music

24 AUG 17



from the creator of Tilted Axes
the new album by Patrick Grant
Official release date October 24

“It doesn’t matter whether this music is post-Minimalist, indie classical, or not classical at all… style and even genre are increasingly meaningless now, so abandon the categorizing impulse and just listen.” - The Wall Street Journal

Patrick Grant: guitar, bass, viola, piano, keyboards and percussion
John Ferrari: drums, mallet instruments and percussion
Nick Didkovsky: guest guitar solo
Dan Cooper: electric bass
Lynn Bechtold: violin
Dan Barrett: cello

Recorded at John Kilgore Sound NYC, the NYU Film School, Peppergreen Media NYC, and the Ferrari Factory NJ
Album mixing engineer and recording engineer for Kilgore sessions: Garry Rindfuss
Recording engineer for NYU Film School sessions: Jocelyn Gonzales
Mixed at Mercy Sound Studios NYC
Mastered by Sheldon Steiger
Produced by Patrick Grant

Prepared piano samples on “Lucid Intervals” were created separately by David Borden (Mother Mallard’s Portable Masterpiece Co.) and generously supplied for further manipulation here.

The vocal track for “Sevens Years at Sea” (Sept Ans Sur Mer) is from “A Treasury of Library of Congress Field Recordings” (Rounder Records 1500) and is now in the Public Domain. It was recorded by John and Alan Lomax in Louisiana in 1934, and is sung by Elita, Mary, and Ella - the Hoffpauir Sisters.

The field samples and tuned sounds on “One Note Samba” were recorded for this project in New York City and in São Paulo, Brazil.

All titles on this album are by Patrick Grant and published by Peppergreen Media (ASCAP) except for “One Note Samba” by Antônio Carlos Jobim and published by Universal Music. Licensing for this recording is provided through the Harry Fox Agency.

Guest soloist Nick Didkovsky is a guitarist, composer, and band leader.

Album photography: Bob Krasner
Album graphics and layout: Eric Iverson
Peppergreen Media logo: Steve Ball

Thanks and acknowledgements: ASCAP, Gary Beeber, Composers Concordance, The Coney Island Film Festival, D’Addario Strings & Planet Waves, Electro-Harmonix NYC, O Festival Música Estranha, The Film School at NYU Tisch School of the Arts, Robert Fripp, The (formerly known as) Guitar Circle of North America, Independent Music Promotions, Korg USA/Vox Amps, James Moore, James Gill (Mercy Sound), Milica Paranosic, Gene Pritsker, Tom Redmond, Som do Brasil on WKCR, Preston Stahly, Kathleen Supove, Tribeca New Music, and Tiny Orchestral Moments (Seattle)

℗ and © Peppergreen Media, 2017. All Rights Reserved.
17 APR 17

SHIFT - a slight change in position, direction, or tendency. info@tiltxift.com

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Duis cursus congue eros ac lacinia. Aliquam luctus purus sed nibh sagittis fermentum. Praesent a rhoncus metus, auctor aliquam ante. Aliquam finibus tempor turpis id convallis. Nulla vel mauris commodo, ornare urna ac, luctus ipsum. Sed sit amet condimentum lorem. Aliquam dapibus magna tristique eros tincidunt gravida. Nullam fermentum felis in sem hendrerit molestie. Integer sit amet odio lobortis libero faucibus pretium. Aenean fringilla massa magna, a viverra leo maximus vitae. Nam luctus est quis ex volutpat auctor.

20 MAR 17

Classical, Rock, & World: 3 Detroit Music Award Nominations

Thank you, Detroit! So grateful to receive three nominations in Phase II of the 2017 Detroit Music Awards. Not there yet, so spread the word. Very happy that work with Tilted Axes: Music for Mobile Electric Guitars resonates throughout my hometown with tracks like #riveracourt, #beaubienblues, and #corridor84. The awards will take place at The Fillmore Detroit on May 5th.

For more information on the awards and the nomination process, go to: http://www.detroitmusicawards.com/

17 MAR 17

original music & audio for film, broadcast, stage

WHAT: Peppergreen Production is a new group of award-winning composers, performers, producers, arrangers, engineers, and broadcast specialists creating contemporary content in multiple mediums. These are the disciplines at our core.

WHY: By combining our skills, we are able to meet new challenges in the professional projects we begin and complete. In coming together, our circle of influence reaches equally into the visual and theatrical arts.

HOW: Traditional technique is augmented by modern methodology. This enables projects to be created just as easily in the studio, on site, or within cyberspace.

Is it a sound idea? Send an email to studio@peppergreenmedia.com

01 MAR 17

Upcoming Albums To Be Released Spring 2017

New and definitive recordings of

To Find a Form (That Accommodates The Mess)
Breaking Butterflies Upon a Wheel
Gotham City Groove Machine
Alcohol, Tobacco, & Firearms
Lonely Ride Coney Island
Happy Ride Coney Island
Dude, Where's My Band?
The Weights of Numbers
A Referendum of Riffs
Seven Years at Sea
One Note Samba
Creepy Carnival
Driving Patterns
Strange Loops
Lucid Intervals
Primary Blues

...and more


09 FEB 17

Peppergreen's Jocelyn Gonzales begins as Studio 360's new Senior Producer

Congratulations to Peppergreen Media's Jocelyn Gonzales (Strings & Things Podcast, TILTED AXES, etc.) for beginning her new gig this week as Senior Producer for STUDIO 360, the Peabody Award-winning show and podcast about creativity, pop culture, the arts and ideas hosted by novelist and journalist (and “Spy” magazine co-founder) Kurt Andersen.

Yay, Joce! http://www.wnyc.org/shows/studio

01 FEB 17

(Nothing Is Real)

Cranberry Source
(Nothing Is Real), is a new set of variations that celebrates the Beatles' 1967 landmark 45 RPM single "Strawberry Fields Forever."

Working from copies of the original studio multitracks, this project imagines a set of interconnected musical miniatures as heard through the original's unique instrumentation, musical forces that combined successfully, and arguably for the first time, the fields of popular, classical, and world music.

That instrumentation, as orchestrated by Beatles' producer George Martin for the original recording, consists of: 4 trumpets, 2 electric guitars, swarmandel (an Indian zither), piano, mellotron (flutes), timpani, guiro, maracas, tambourine, 3 celli, electric bass guitar, drum kit, and of course, vocals.

Strawberry Fields Forever
Words and Music by John Lennon and Paul McCartney
Copyright © 1967 Sony/ATV Music Publishing LLC
Copyright Renewed

This arrangement by Peppergreen Media
© 2017 Sony/ATV Music Publishing LLC

All Rights Administered by Sony/ATV Music Publishing LLC,
8 Music Square West, Nashville, TN 37203
International Copyright Secured All Rights Reserved

Coming Soon

20 JAN 17

Lean in - Push back - and TILT


15 JAN 17

NEW PG Interview on Make Weird Music

"I'm totally thrilled that Anthony Garone asked me to be interviewed as part of his excellent Make Weird Music series. The video is on Facebook here, but I also recommend looking at his web site. There is a lot of extra content that he compiled, plus the interview also exists in transcribed form. So great to see all of that work in one place. Thank you Steve Ball for the connection. Three cheers for Make Weird Music!" ~ Patrick Grant - http://www.makeweirdmusic.com/discover/patrick-grant/

11 JAN 17


Beta Test: http://www.mtv.com/artists/tilted-axes/

01 JAN 17


23 DEC 16

Tilted Axes in The Huffington Post

On the Culture Front: Music from the Underground
by Chris Kompanek

"Tilted Axes is the moniker for the classically-trained art rocker Patrick Grant and a call to arms for the guitar orchestra he assembles for street performances. The instrumental tracks on his new album, “Music for Mobile Electric Guitars” are tightly-woven powerhouse compositions that alternate between shredding solos, rhythmic riffs, and more expansive soundscapes. Grant, who studied at Julliard and worked for classical minimalist pioneer John Cage, is a musician in complete control of his instrument and to listen to him rip loose on tracks like “Beaubien Blues” is a real treat. With almost a dozen guitars along with drums and bass, this wall of sound makes a powerful argument for maximalism. If Bach grew up playing the electric guitar and listening to Led Zeppelin and Mahavishnu Orchestra, he might have sounded like Patrick Grant. Come to think of it, I would love to hear Grant record his take on the Goldberg Variations."

Read it on The Huffington Post HERE

22 DEC 16


"Happy to get news that I have received an ASCAP PLUS AWARD for the latest cycle of compositions, recordings, & performances. This mostly reflects my work with TILTED AXES: Music for Mobile Electric Guitars and is given to "...writer members...whose works were performed in unsurveyed media as well as writer members whose catalogs have prestige value." Since much of this work takes place off the beaten path, it's great that its pioneering spirit gets recognized. This money will go straight into 2017's work. Thank you ASCAP! A great way to close out this year and to prepare for the next!" - Patrick Grant, NYC

21 DEC 16

Tilted Axes @ Five Years

Today, upon the solstice, the Tilted Axes project marks its 5th anniversary.

In a year of ups and downs and downs, there is plenty to be grateful for. Thank you everybody who helped us achieve our financial goals for 2017 projects. Thank you everybody for supporting the release of our album. New recordings are underway and will be out ASAP. Thank you to the radio stations, the press, and to our 25K+ fans online and around the world for spreading the word. Most of all, thank YOU for being a part of our community so that we can continue being a part of yours.

Wishing everybody all the best in 2017!
Patrick Grant & Tilted Axes
Music for Mobile Electric Guitars

07 DEC 16

STRiNGS & THiNGS Podcast Episode 11 w/ Sudeip Ghosh

This time on the STRiNGS & THiNGS Podcast, super-shredder Sudeip Ghosh is here to change the strings on his Dean Zelinsky guitar while our host, Patrick Grant, works on his trusty Les Paul. Sudeip grew up playing and singing Indian classical music, but a chance encounter with a hard rock mixtape ignited his dreams of power chord glory.

Sudeip will tell us how a one-string acoustic and a scarcity of guitar magazines tested his determination, and how he’s come into his own as a metal guitarist, a film composer, and a Bollywood musician. As always, we’ll put the new guitar strings through their paces when Patrick and Sudeip plug in to record some rollicking riffs.

Listen via the embedded player abouve or you can click on the link HERE

25 NOV 16

CMUSE: Classical Musicians Everywhere
(UK & Canada)
Interview w/ Patrick Grant

Read the interview on the CMUSE web site here:

Read more recent reviews and interviews here:


01 NOV 16

Tilted Axes @ The 2016 NYC Village Halloween Parade

More VHP photos posted at:


30 OCT 16

13 Question for Patrick Grant from the Prepared Guitar Blog

Patrick Grant is an American composer living and working in New York City. His works are a synthesis of classical, popular, and world musical styles that have found place in concert halls, film, theater, dance, and visual media over three continents. Over the last three decades, his music has moved from post-punk and classically bent post-minimal styles, through Balinese-inspired gamelan and microtonality, to ambient, electronic soundscapes involving many layers of acoustic and electronically amplified instruments. Throughout its evolution, his music has consistently contained a “…a driving and rather harsh energy redolent of rock, as well as a clean sense of melodicism…intricate cross-rhythms rarely let up…” Known as a producer and co-producer of live musical events, he has presented many concerts of his own and other composers, including a 2013 Guinness World Record-breaking performance of 175 electronic keyboards in NYC. He is the creator of International Strange Music Day (August 24) and the pioneer of the electric guitar procession Tilted Axes.

1. What were the first and the last records that you bought with your own money?

When I was 11 years old, I saw a commercial on television for Stanley Kubrick’s “A Clockwork Orange.” The music in that commercial grab my ears right away. I could not figure out what was making those sounds. It was winter so I shoveled snow to earn the money to buy the LP. When I brought it come I put it on my record player and dropped the needle from track to track to find the music I had heard. It was the March section in 6/8 of the choral movement of Beethoven’s Ninth Symphony as performed on the Moog synthesizer by Wendy (then Walter) Carlos. It blew my mind because up until then, to me, classical music was only stuff that was used in a humorous way in cartoons. The sounds of the Moog entirely captivated me. In one moment I was transformed and dedicated my life to music and, in many ways, my personal pursuit to this day is to relive that feeling I had. Now, the last album I actually purchased, on CD, was “King Crimson Live in Toronto, November 20, 2015.” If you also count digital purchases, that would be Frank Ocean’s “Blonde.” Whether you like his music or not, there is a lot to be learned about recording techniques on that album.

2. What’s your musical practice routine ?

I begin every day with the Sitting Practice I have learned from being a part of Robert Fripp’s projects. It wouldn’t be right to call it meditation. The idea is, “How can one do anything if one doesn’t know how to do nothing?” So that’s it, I begin my day by doing nothing, as excellently as possible. The goal is to calm our Monkey Minds (reflex) and replace it with clear aims (intention). From there, I’ll go through a number of exercises on my acoustic Ovation tuned in Guitar Craft’s New Standard Tuning (C – G – D – A – E – G). I go through a number of finger exercises called Primaries. I find that this guitar’s tuning, in 5ths, really stretches out my left hand. Being acoustic, the right hand, playing with a pick, is given an equal amount of attention. There’s no hiding a sloppy right hand technique on an acoustic. If done well, the result is having exercised one’s ability to put attention where it’s needed, when it’s needed, not just in the hands, but throughout one’s being. All of this warms me up and gets me ready for whatever musical tasks I have for the day. If it’s a “keyboard day,” I’ll do all of the same preparation but will run through some of Bach’s Two-Part Inventions. I love the purity of the two monophonic lines working every finger equally.

3. In your opinion, what’s the relevance of technique in music?

If one wants to make a life out of music, the learning of technique never ends. Not just in playing one’s instrument but, in all of the related fields that makes music possible. Understanding musical instrument technology and its constant evolution is one area. Then there are the various techniques of arranging, recording, and producing. So yes, it’s incredibly relevant. I’d rather feel I’m creating on the edge of learning something new rather than repeating myself. Those uncertain waters are a good place for creativity. Where those waters are, metaphorically, depend on how far out our technique can take us before we drown. It’s always good to push ourselves a little further each time we creatively venture out.

4. Tell me one impossible project do you like to realize?

For years, I’ve wished to put together an electro-acoustic ensemble that would work well with projections, films and such. I would like the synchronization between the music and the images to be exact. The difference here would be that there would be flexibility in tempo. There would not be a static tempo connecting these sonic and visual elements but one that would be dynamically controlled by the musical ensemble. In other words, the image would follow the musicians, not the other way around which has been the traditional way. I have done some research into this and I believe I have finally found a way. This ability would have many possible (and impossible) uses on the stage and in alternative venues.

5. What are the challenges and benefits of today’s digital music scene?

It has its pluses and minuses. It depends on what the aims of the artist are and I can only speak for myself. It certainly helps an artist in getting their music out into the world quickly. Where it goes from there is the question. I myself don’t have high expectations on digital sales, I’m more interested in getting the music to the right audience. I have been functioning in a traditional role of composer first, and performer second. That means that most of my music has been commissioned, meaning that I get my money up front. The purpose of my digital distribution is to get it to the people who commission new music and performances. If there are any sales, that’s the gravy. I would also ad that having one’s publishing and copyrights in order is very important if there is any chance of one’s tracks being licensed for use in visual and other media. As a result, I look forward to regular royalty checks from my PRO. Despite the relative ease that one can get their tracks out into the world, I have found that most serious reviewers and serious radio stations still prefer to receive an actual CD. Perhaps that will change but for now, I’m still sending out hard copies to the larger institutions.

6. How do you feel listening to your own music?

Too be honest, a little awkward. The newer it is, the more awkward I feel. Every note reminds me of what I was thinking of or what I was doing when I created it. It’s funny. As time passes and I have some distance to it, I am able to listen more objectively and I’ll get critical of missed opportunities and things I’d like to change. When enough time passes, I can listen to it as if someone else created it and enjoy it for what it is. After too much time passes, to even think about making any changes seems a fruitless endeavor. Let it be what it is and, if there are any remaining criticisms, better to express them in a new piece of music.

7. What is one musical work that has provoked a change in your music?
That would have to be Steve Reich’s “Music for 18 Musicians.” I was 14 years old and received that LP as a birthday gift. Like all music I fall intensely in love with, I didn’t like it at first. I almost hated it. That was because it challenged the way I had been listening to music. I was young and liked music that changed very quickly. Think of how fast the harmonies change in Bach and Bebop. It made me slow down and that took some time to do. When I was finally able to listen deeply, I began to notice all kinds of things going on that my ears were initially deaf to. That ability carried over into all over kinds of music that began to interest me. I was then able to listen to music that I thought I knew well and heard things that I didn’t hear before. This is a skill that all musicians have to acquire but, to me, when I was 14, it was pretty profound. I obviously remember the effect it had on me to this day.

8. What is your relationship with other disciplines, such as painting, literature, dance, theater, etc.?
I have had a good relationship with all of the other arts early on. I can credit my mother, who studied art and drama, for that. As a teenager, I credit Kurt Vonnegut, Richard Brautigan, and Anthony Burgess for saving me from a life of illiteracy. They were so much more interesting than the classics we had to read in school, though I read those too. As a kid, I was leading two musical lives. On one side I was very classical: Bach, Beethoven, Debussy, and Stravinsky. I skipped over much of the Romantic Era. I found that music to be too nationalistic and full of over-orchestrated folk tunes. My other side was drawn to rock, the Beatles initially, even though they were years past. I started playing in Post-Punk and New Wave bands because I loved the immediacy of having an audience and the theatrical element it had that came from smart places like Modern Art and cult films. Later, I was interested in the music of John Cage. His book “Silence” was another ear-opener. I loved how all the arts came together in New York City and so I moved there and live there to this day. By being aware of the city’s history, I found many places to plug my music into besides concert venues: art galleries, theater, dance, film, and began producing my own concerts in alternative spaces. This was due to having a good understanding and relationship with other arts. Not too many musicians have this, or maybe they think they do. I became very involved with avant-garde theater for a number of years as a composer and performer. I have created music for the legendary Living Theatre. They interested me because of the sheer number of great composers that worked with them over the decades. Plus, as a theater composer, you have the benefit of a space to work in. That’s hard to get in NYC. I also created music for the visionary Robert Wilson, most famous for creating “Einstein on the Beach” with Philip Glass. That experience was a prime example of all the arts coming together on stage. Gesamtkunstwerk. Opera. I often say that the theater is my favorite art form because it is the only one that can contain all of my interests under one umbrella. That’s avant-garde theater, I mean. Traditional theater was there for research and technique. I pushed the envelope every chance I had.

9. What are your secret influences? (Non-musical ones, like books, people, experiences, art…)

It’s not so much a secret, well maybe it is, but that would be the influence of science. I did not do well in school when it came to science. The concepts were, at the time, too abstract for me. The math, I mean. That’s strange since all other forms of abstract thought were never a problem. I always loved the short TV programs of Julius Sumner Miller. He was a student of Einstein. He produced short videos called “Dramatic Demonstrations in Physics.” The guy was hilarious. Anyway, he was able to get across some fairly deep concepts through simple physical demonstrations using things that one could find around one’s house. Search for his videos on YouTube. They’re priceless! So, like that, I needed something physical to understand the ideas. Soon after I finished school, I was given the book “On the Sensations of Tone” by Hermann Helmholtz. That was another paradigm shift. As I read it, I realized that I had the electronics to make the sounds he was describing in the math. When I could hear it, when I could see it, then I could understand it. It was physical, sensual, it was not abstract. From there, I started incorporating more and more science into a lot of my work, be it natural (physics and biology) or man made (architecture). These sciences offered many new models for composition. Since then, whether overtly or covertly, these things have informed the compositional elements of my work. I even created a number of concert theater pieces based on science like “Genome: The Autobiography of a Species” (2003) about DNA and “Big Bang” (2006) about the creation of the universe. I would also say that fractals are consciously present at some level in all of my work.

10. If you could, what would you say to your younger self about a musical career?

Besides “learn orchestration,” I’d say stick with positive people. Don’t let anybody tell you what you should be doing. Follow your gut because, yes, life is too short and there’s little time to do anything over. Don’t party too much. You’ll regret that wasted time as you get older. Plus, it takes a toll on your body. Don’t worry about being liked. No matter how good you are, you cannot please everybody. Be a part of a community. Remember, music is a social art. Sure, we need time alone, but don’t isolate. Nothing happens if you do. If what you’re doing creatively scares you a little bit, that’s good. It will keep you sharp. Never say you can do more than you can do. That will take a while to figure out but stick to that ethic once you understand. People will appreciate your honesty even if it initially disappoints them. One axiom from Guitar Craft sticks with me: Honor sufficiency; Honor necessity. It’s more difficult than it sounds. Practicing your ability to maintain and deepen your attention. It requires constant work. Begin now.

11. What is some valuable advice that someone has given to you in the past?

Learn orchestration. No matter what one’s instrument or style of music, learn orchestration. There are some very real reasons why the orchestra has evolved into what it is and, in the end, those reasons are the physics of sound. Yes, science again. This will be especially useful when one begins using electronics. Whether it’s stomp boxes, synthesizers, or digital recording, all of these have their analogs in acoustics. It makes everything so much easier to navigate once you learn the principles of how sound works and how our ears hear. Thankfully, there are not too many things to learn (in essence) but the combinations are infinite. This was said to me and I’ve said it to younger musicians. They’ve all come back to thank me for it just as I thanked my mentors.

12. Which instruments and tools do you use?

I’m a guitarist as well as a keyboardist so I have a bit of both. Guitar-wise, my sound is electrically defined by a Fender Jaguar, a Gibson Les Paul, and a Rickenbacker 330. Acoustically, I have an Ovation Balladeer and a Taylor T5. I have other guitars but those are the main ones. You know how in film they have lead actors and character actors? Well, as a guitarist, I’m not really a lead guitarist but, I’m much more than just a rhythm guitarist. I say that I’m a “character guitarist.” I’m the guy who plays the inner voices that you remember, if that’s a thing. I have plenty of top notch lead guitarists in my group to get that job done. As far as keyboards go, I’ve owned so many over the years that I haven’t been able to keep them all. Most every keyboard I’ve lost now exists as a software version. Currently I use a Korg SV-1 electric piano (with a tube!), a Novation MIDI controller, but the best of the best are the two Moog Sub 37s that I use as a pair. There’s nothing like that Moog sound. I mean, that’s what got me started in the first place. Electro-Harmonix and Vox Amps are project sponsors so I have a number of items from both of them for FX and amplification. For recording, I use Ableton Live. When many pieces have to be multi-tracked by different players at different times, I found that its editing capability can really bring everything together into an ensemble sound quite well. My partner Jocelyn is a Pro-Tools genius (she teaches it at the New York Film School and is a podcast producer for the New York Times) so, if I ever have to go there, it’s around. Still, it’s time to upgrade. I’ll need a new MacBook Pro and audio interface soon. For the latter, I’m thinking I’d like to get an Antelope Audio Zen Studio. It has so many inputs and it’s crazy good for taking on the road, so my friend can testify.

13. What projects are you working on now and what does the future hold?

The Tilted Axes album just came out so we’re using that for promotion and planning our next performances. I’d like the next step to be “Tilted Axes: Music for Planetariums” or something like that. “Astronomic” is another working title. That would be a continuation of musical work that has roots in science. Plus, planetariums and museums are idea venues for what we do. My theatrical sense sees many extra-musical applications that could be pursued. A whole new repertoire has been written and I’m ready to begin recording the demos for the group. I like these new pieces because they mark a return to a lot of the polymeters I’ve been known for. I mean, the original repertoire was written for processions so much out it simply had to be in 4/4/. The music will evolve into more complex structures. Also, I am host of the Strings and Things Podcast. We just started that this year and it’s become very popular. The idea is simple: I invite interesting guitarists over to our studio, and we change our strings while talking about all kinds of things. After we have stretched and tuned our new strings, we always end in a short duet. It’s simple, it’s informal, and it’s lots of fun for the listener. On top of all that, I am mixing two more albums. One album is of electro-acoustic chamber works, and another album is of music for theater, video, and electronics. I’m enjoying the finishing up of these recordings since they’ve been building up over the past few years. Every time I get some music out into the world, good things happen. I can never guess exactly what that will be, but it’s always good. I’ll follow whatever path the music presents to me.

19 OCT 16

‘Tilted Axes: Music for Mobile Electric Guitars’ by Patrick Grant
and ‘Rushing Past Willow’ by Nick Zoulek Reviews

A 17-movement score for guitars and diverse saxophone compositions push back against stylistic labels.


Allan Kozinn

On a drizzly December night in 2011, the composer and guitarist Patrick Grant and about 20 of his colleagues gathered on East Fourth Street at Second Avenue in New York; strapped on electric guitars and plugged them into the small, battery-powered Danelectro amplifiers clipped to their belts; and marched through the streets for nearly 90 minutes, playing “Tilted Axes,” a piece Mr. Grant composed for the occasion, the first Make Music Winter, an annual celebration of the Winter Solstice.

At the time, “Tilted Axes” was essentially just a cheerful chord progression and a rising, four-note figure, played over and over for a continuously replenishing audience of passersby. Since then, Mr. Grant has expanded the work into a 17-movement score for massed guitars, Chapman Stick, bass and drums, and he has just released a recording, “Tilted Axes: Music for Mobile Electric Guitars” (Peppergreen Media).

Besides documenting the work, Mr. Grant’s album raises a question that has come up repeatedly since Glenn Branca began composing his heavily amplified electric-guitar symphonies in the 1970s: Is this classical music, or rock? Another new recording, Nick Zoulek’s “Rushing Past Willow” (Innova), inspires a similar question: Is it classical music, or jazz? Mr. Zoulek plays the saxophone, arguably jazz’s signature instrument, and the 12 pieces on his album began as improvisations, jazz’s lifeblood.

Both composers have solid classical-music bona fides: Mr. Grant has written conventionally scored chamber music and vocal works, including an opera, and Mr. Zoulek has composed for dance companies and commissioned works from contemporary composers of all stripes. But they are so adept at their chosen corners of popular music that it’s hard not to hear Mr. Grant’s ebullient, guitar-crunching music as unabashed rock, and Mr. Zoulek’s explorations as post-Coltrane, sound- and texture-bending jazz.

The border between avant-garde jazz and certain flavors of modernist chamber music is porous, of course, and Mr. Zoulek’s performance, on saxophones in every range, is stunningly virtuosic, whatever the genre.

It is also, in effect, a comprehensive treatise on updated wind techniques. Circular breathing yields rapidly undulating, swirling figures that seem unstoppable. Overblowing produces sometimes harsh but fascinating chordal figures, as well as evocations of electronic timbres and feedback. And vocalizations, percussive attacks and other idiosyncratic articulation techniques push Mr. Zoulek’s palette far from the mellow timbre Adolphe Sax dreamed of when he created the instrument.

None of that would matter much (except to saxophonists) if Mr. Zoulek were a less imaginative composer. Several of his pieces—“Reconsolidate: In Memories,” “These Roots Grown Deep” and the swirling “Symmetry: In Memories,” most vividly—use repetition as an engine. But each has a distinct character, and in every case, Mr. Zoulek’s repeating figures quickly sprout layers that create an illusion of counterpoint.

Some of his methods are time-honored. He uses Bachian arpeggiations that range so widely, and move so quickly, that you hear them as distinct bass and soprano lines, with accompanimental figuration holding the middle ground. More often, though, his layers are built more inventively, with rhythmic patterns tapped assertively on the instrument’s keys, and bursts of strange timbres—buzzing tones that sound like overheated electrical lines, for example, or brash, sliding multiphonics that suggest an electric guitar with a distortion pedal—becoming second and third voices in expanding dialogues.

Often, Mr. Zoulek’s layering is so dense that you assume he has multitracked them. But the album’s notes affirm that the performances were recorded live, with sonic shaping by the composer and installation artist Jason Charney.
Mr. Grant’s “Tilted Axes” stakes claims in several musical worlds. It begins like a 1960s rock track, with a drum fill and an explosion of bright, layered guitars lines. But if Mr. Grant had dropped the drums and scored his opening movement, “Shapes I,” for orchestral instruments, it would move like a tightly wound post-Minimalist curtain-raiser to a restless tour of modernist styles—post-tonal abstraction in “Circulation in G Maybe” and “Harmonic Revolutions,” a tribute to Steve Reich in the shimmering “Pedal Swells,” and even a touch of neo-Medievalism, in “Tuanna Claonta.”

But there are also times when Mr. Grant gives his inner rocker free reign. The riffy, stomping “Beaubien Blues” would not make the transition to an orchestral fabric as easily as other movements. You hear Pete Townshend-like power chording in several pieces. And two movements—the angular “Kneadle Variation” and the hard-driven closing section of “Corridor 84 + Krimson Coda”—are built on quotations from Robert Fripp’s music for the art-rock band King Crimson.

In a sense, both composers are reframing that old debate about the stylistic labels that listeners find helpful but that composers have long found irksome. It doesn’t matter whether this music is post-Minimalist, indie classical, or not classical at all, they seem to be saying. Style and even genre are increasingly meaningless now, so abandon the categorizing impulse and just listen.

Mr. Kozinn writes about music for the Journal.

14 OCT 16

Interview w/ PROG SPHERE Magazine

"An in-depth conservation with TILTED AXES: Music for Mobile Electric Guitars' creator Patrick Grant by Aleksandar Nikolic from Prog Sphere. They discuss the project's evolution, the NYC arts scene past & present, live performance vs. studio recording, gamelan, prog, sparkly guitars, and more."

Read it here: http://www.prog-sphere.com/interviews/tilted-axes-interview/

01 OCT 16

Recent Reviews - Updated

To read them, follow the links HERE

28 SEP 16

Tilted Review on YouTube by the Amazing AEABIAA


23 SEP 16

TILTED AXES to be featured in the 2016 NYC Village Halloween Parade

Photo from the 2015 NYC VHP

Tilted Axes: Music for Mobile Electric Guitars has been invited to perform at the NYC Village Halloween Parade as a featured act. The VHP is the largest event of its kind in the nation with an annual estimated audience of 250,000. The event will be broadcast in the Tri-State Area.

They said, “You have a blue guitar,
You do not play things as they are.”

The man replied, “Things as they are
Are changed upon the blue guitar.”

And they said then, “But play, you must,
A tune beyond us, yet ourselves,

A tune upon the blue guitar
Of things exactly as they are.”

— Wallace Stevens


20 SEP 16

FIREWORKS MAGAZINE UK - Interview with Patrick Grant

"It's a good thing when "new music" crosses over into other genres and vice versa. Glad to be interviewed by England's FIREWORKS MAGAZINE #76 and contribute a track to its accompanying CD. The magazine is available on newsstands throughout the UK and available at finer bookstores in the USA, Canada, & Europe." - Patrick Grant

by Nicky Baldrian

From New York we find progressive rock artists TILTED AXES, who are based around the multi talented composer Patrick Grant. They have a new seventeen track CD out now called ‘Music for Mobile Electric Guitars’ that is well worth exploring and runs in at just under seventy five minutes long.

The band are Electric Guitars - Patrick Grant, Matt Grossman, Daniel Reyes Llinas, John Halo, Randolph Hudson III, Reinaldo Perez, Nick Didkovsky, Gene Pritsker, Howard Glazer, Anthony Mullin, Larry Simon, Chapman Stick - Jeremy Nesse, Electric Bass - Dan Cooper, Patrick Grant, Drums & Percussion - John Ferrari, Cesare Papetti.

Main man Patrick Grant is from Detroit, Motown. Besides from hearing a lot of local radio, they also had the CBC and the BBC coming through Canada, which is right across the river. Everybody played in some kind of band, so crazy is just a concept. Everybody is somebody’s freak depending upon the backdrop they’re pushed against.

Patrick grew up with a foot in two worlds. On one he was getting prizes for writing classical chamber music since age fourteen, and on the other he was playing original music in post-punk bands developing (his) chops. “I moved to NYC to study composition at the Juilliard School and ended up staying there. I found many experimental theatre companies that needed original music and that was a great place where my rock and classical skills could co-exist. My day job then was working for music publishers. That brought me into the circle of people working with avant-garde composer John Cage. Man, that experience really opened up my ears,” he tells me.

Whether it’s rock, Bach, or Balinese gamelan, Patrick see’s every performance as a ceremony of sorts. “Music, to work, thrives on scenes to come out of. Many of us are too close to the centre of our work to see it for the ritual it is, in an anthropological sense. Whether intended or not, every performance contains elements of theatre. That’s what interested me in creating Tilted Axes: Music for Mobile Electric Guitars. It began as a processional event for the Winter Solstice (hence the astronomical pun in its name) and really caught on. Since then I’ve brought it to three (continents). For me personally, it was also a revenge of sorts to the hardship we share in building an audience. As musicians we put together a show and hope that people will come to the venue. With Tilted Axes, since we wear and move about with our own portable amps, we can go anywhere. We just go and perform where there are already thousands of people. It’s an instant audience. Every track on the album represents a different event, a “tilt,” that we performed in that every one contains some new music created for it,” he explains.

Patrick is interested in anything that can tell a story using non-verbal means. This includes all kinds of visual and graphic art, design, and architecture for example. A well-designed household item can speak volumes. “This spills over into the realm of semiotics and this is a branch of philosophy I use a lot in our work. I’ve written a lot of music for modern dance and for experimental theatre. That last one interests me a lot because it’s the only art form I can think of that contains all of my interests under one umbrella: every aspect of the visual, of music, of movement, of text, live performance, projection, and political commentary,” he says.

Tilted Axes isn’t a band so much as it is a project. The personnel changes every time they create a tilt, whether in the USA, Europe, or South America. It draws heavily upon local musicians who learn the music and then add their own cultural flavour. “The group on the album is made up mostly of what we call the Tilt Core, musicians here in NYC who know the music well and can perform it as a small ensemble. We’ve had manifestations of the project that included 44 musicians. That’s a big sound. We use Mini Vox amps (they are a sponsor) so we have all the classic amp tones and FXs you’d expect from the electric guitar as an icon. To my knowledge, we are the only project like this out there,” Patrick explains to me. Performing mobile, and often outdoors, never yielded any satisfactory recorded representations of the work. Patrick wanted to make a studio recording of their repertoire created up until this point. “Even though the tracks are meant to stand on their own, the listener could think of the album as one big set of Theme and Variations. Every track is in a different style but, if you listen closely, you can hear how there are thematic elements that tie it all together. It’s been tricky finding a single genre to file it under, so I chose “Post Progressive” because it means everything and it means nothing,” he adds.

It took close to three months to record, spread over the course of a year. Live gigs and other projects would get in the way. Patrick produced it and he did the editing. “I love the recording process even though there are longs stretches of tedium. It was recorded into Ableton Live because it gives me great flexibility in the editing, much more than Pro-Tools. Plus, a number of the guitarists, the true shredders on the album, sometimes recorded at different times.

I needed that flexibility to put it all together as an ensemble sound. The guitarists come from all kinds of backgrounds including with Edgar Winter, Alice Cooper, Robert Fripp, as some examples. My engineer, Garry Rindfuss, came up through the ranks working with the legendary Phil Ramone at the Power Station in NYC. He’s great. Tracking and mixing were done at John Kilgore Sound, Mercy Sound, and in my studio, all in NYC. I couldn’t be happier with the crew thacame together for this album,” he smiles. Since Tilted Axes has performed in a number of cities in a number of countries, that certain of the same things happen at each one. “I always say that the best audience member at one of our tilts is one who did not know that we were going to appear. They have the best reactions! There’s always a large number who react with shock and then with smiles. There’s always a small number who looked angry and scurry off. Many often follow us from location to location as we move through the urban landscape. Many will start dancing or pick up something they can use as makeshift percussion to play along. They’re welcome to do so. The music is purposefully instrumental so that it’s universal wherever the project travels. That so, a lot of young kids will start rapping to the music with great results. These are all real moments of a group of musicians interacting with the public. True, honest, and priceless, we have transformed the city, just for a moment,” he grins.

Another interest of Patrick’s, a huge interest, is science. “I’ve created a number of rocking scores for shows that were about genetics and astrophysics working with actual scientists. Science lends itself to musical structures so naturally. They’re already there if you look. The next phase of Tilted Axes will include music for planetariums. It’s a natural for mobile electric guitars. Most are attached to museums, they’re all over the world, and they’re indoors! I won’t have to worry about the weather for those performances. Wondering whether a Tilted Axes performance was going to take place during a rainstorm, a blizzard, or a heat wave, has, no doubt, taken years off my life. The music for that is already being put together. I look forward to that new work with the group,” he concludes.

Check the band out at

19 SEP 16

STRiNGS & THiNGS Episode 10 Trailer

On the next Strings and Things podcast, bass player Jeremy Nesse is on tap to tell us about the albums and musicians who inspired him to pick up the Chapman Stick, and he’ll describe the pitfalls of playing such an unusual instrument. We’ll find out how his Dad handed down his deep love of music…and why Jeremy’s own son hasn’t quite caught the musical bug just yet.

This is the Strings and Things podcast, where guitarists come by to change their strings, shoot the breeze and play some music. Look us up on iTunes, Stitcher, Google Play and YouTube or visit our website at stringsandthingsshow.com.

14 SEP 16

Short and Sweet NYC

New York ~
Los Angeles
~ http://shortandsweetla.com/2016/09/14/tilted-axes-music-for-mobile-guitars/

Tilted Axes: Music for Mobile Electric Guitars

By Ralph Greco

The loud, jangly guitar drive, upfront splashy drums, and more guitar layering of “Shapes 1” opens Tilted Axes’ new LP Music For Mobile Guitars. Since its inception, Tilted Axes has evolved as a project with multiple incarnations in New York, Detroit, and Düsseldorf, Germany, all from the composing/electric guitar playing talents and tutelage of composer/performer Patrick Grant. “Pedal Swells” is a layered cutting of effects arpeggiating into infinity. It has nice colors, but is not much of a tune. While “Rivera Court” fares much better, featuring a nice single guitar cutting through (did somebody say Steve Hackett?) and nicely picked signatures behind it that build to heavy strumming. “Asciae Obliquiae” moves at a rock and roll pace. I like the straight-ahead vibe of this one. “Beaubien Blues” is riff-tastic with a few guitars trading. One big, healthy wailing lead and the guitar harmonies of “Tuanna Claonta” reminds one of Martin Barre (guitarist with Jethro Tull and solo now, if you didn’t know) at his best. “The Sound of Burning Chairs” ends this collection with its low, simple base and flights of guitar roiling; it’s another heavy tune that works. Patrick Grant enlisted a bunch of players to help out here: electric guitarists Matt Grossman, Daniel Reyes Llinas, John Halo, Randolph Hudson III, Reinaldo Perez, Nick Didkovsky, Gene Pritsker, Howard Glazer, Anthony Mullin, and Larry Simon as well as Chapman Stick player Jeremy Nesse, electric bassists Dan Cooper and John Ferrari, and Cesare Papetti playing drums and percussion.

12 SEP 16

2016-17 Schedule

We're currently promoting the new album,
rehearsing new music, and preparing for live events!
Keep posted - check back soon!

11 SEP 16

Iconic Rock Quarterly THE BIG TAKEOVER's Album Review, In Print and Online

Tilted Axes - Music for Mobile Electric Guitars

by Cody Conard

If you’re not familiar with Patrick Grant and his Tilted Axes project, it’s basically a mobile rock concert—a marching band of sorts where the horns are swapped for electric guitars plugged into portable amps. Grant assembles a group of guitarists, and they then, as in a procession, perform original material together around streets, city squares, and even museums. You might be wondering how a project that is essentially intended for live performances could hold up in a studio setting, but their latest release Music for Mobile Electric Guitars proves the band is just as captivating recorded as it is live.

Occasionally, the instrumentals feel like they’re itching to be augmented with vocals on more traditional tracks such as “Shapes 1” or “Beaubien Blues,” but it’s on the far more experimental tracks, when the band reaches into atmospheric Durutti Column territory, that the concept works best. Songs like the jazzy “Kneadle Variation” extend into the far reaches of guitar music, celebrating the very instrument itself, and could have comfortably found a home on a record like Television’s Marquee Moon. The democracy and runtime of this album needn’t necessarily have been set to 11, but Music for Mobile Electric Guitars is nevertheless high on concept, ideas, and, overall, execution.


06 SEP 16

11 is Louder Than 10 - Album Review

By Rich Ward

Although Music for Mobile Electric Guitars sounds like the title for an instructional DVD about a new Android app, its actually an invigorating collection of 17 progressive instrumental tracks put together by classically-trained composer and performer Patrick Grant as part of his Tilted Axes street theatre collective.

The New Yorker’s inspiring and innovative project sees a large number of individual guitarists and percussionists come together for collective street performances where they process through the chosen city armed with portable amplifiers playing the tunes Grant has composed.

Cool stuff, but what about the music itself? Pleasingly, Grant has put together a very varied album with a range of genres and styles explored, from rock to prog and classical to world music, and fans of Rush will certainly approve.

He has certainly made full use of the 14 guitarists and two percussionists who contributed to the album – to say there’s a lot going on in each track is an understatement.

Another plus is that, despite the complexity of the songs, with all tracks clocking in at less than seven minutes and most around the three to four-minute mark, the album is constantly evolving and shifting, so it never stagnates.

With so many genres and tracks to choose from I’m loathe to name favourites, but I particularly enjoyed the speeding riffs and screaming solos of ‘Beaubien Blues’ – a delightful contrast to the classically inspired atmospheric harmonics of ‘Circulation in G Maybe’.

I’m looking forward to catching Tilted Axes on procession in a city near me soon.

Music for Mobile Electric Guitars is out now.

05 SEP 16

Guitar Sphere - Album Review

By Steve Burton

Usually, the first artists that comes to mind when I hear “experimental” are Frank Zappa, Tom Waits, King Crimson and David Bowie. Experimental isn’t all that much of a rarity, though I can’t help but have an inkling that there are more bands that I need to be aware of and give them a good scrutiny. Luckily, New Yorkers Tilted Axe are the newest experimental prog group to be added into my iTunes library with their recently releases full-length Music for Mobile Electric Guitars.

The haunting guitar sounds of suspense drift as “Shapes 1″ vibrate before the main procedures head underway with “Tilted Axes Theme” and “Pedal Swells,” where the idiosyncratic diversity takes place with a collection of odd time signatures, jazz and prog-inspired riffs and licks, followed by some funky jams on the guitar and a few eerie notes that spread themselves throughout the tracks. “Rivera Court” comes as a blend of indie, alternative and psychedelic rock while being accompanied by some clean, but also sharp tones on guitar and builds up to a slightly more abrasive personality as the song continues to move forward.

“Techno Tilt” proceeds with a chaotically driven and noisy introduction that follows through with a very abrasive nature in the spotlight of a King Crimson-like routine. Speaking of King Crimson, two tracks on Music for Mobile Electric Guitars are variations on material by King Crimson’s mainman Robert Frip, and it’s something that definitely threads through the songs. Tilted Axes often switches between odd and regular time signatures which multiply into more with tumultuous rhythmic scales involved.

“Alamo Tilt” lingers with a discreet, yet chilling rock number that shifts into post-progressive rock in its approx. seven-minute length, while “Polymetric Patterns” comes with a dangerous personality on the bass that helps orchestrate more potency in being one of the “heaviest” pieces of the record.

The production and the execution of the instruments and the album’s mixing is all very rich together. Tilted Axes manage to avoid the unnoticeable frequencies of making each song sound identical. In fact, it’s one of the few points that makes this group special. This band embraces the concept of expanding their minds by allowing all of their influences take advantage of them in order to create something more than unique.

Riddle me this – why do the good bands have the least exposure? I can’t help but feel that this needs to be up in my 2016 list in the top ten. Either way, I have to give it to Tilted Axes for all of the blood, sweat and tears that went into making this great body of work.

04 SEP 16

National Public Radio's Fresh Air with Terry Gross

A big thank you to NPR and Fresh Air with Terry Gross for making TILTED AXES: Music for Mobile Electric Guitars featured music in your recent programming.
This is good news. Happy to be a part!

30 AUG 16

Recording Project at Legendary London Bridge Studio in Seattle

This will become the office this coming Labor Day weekend, Seattle's London Bridge Studio, birthplace of recordings by Soundgarden, Alice in Chains, Pearl Jam, et al.

Patrick Grant
will be a guest producer and a performer on a number of tracks during a 3-day lockout with GREAT players and good friends.


29 AUG 16

***** Five-Star Album Review from NEW NOISE Magazine

An album of instrumental progressive rock… usually that would make me shudder and skip right past it, but sometimes you need to take a chance and see if this might not be a monstrosity. The good news is that Tilted Axes’ Music For Mobile Guitars is actually quite good and has enough going for it that it holds your attention for all seventeen songs.

This was put together by Patrick Grant who was inspired by his background in gamelan music and vanguard theater work. Classically-trained Grant conceived of Tilted Axes in 2011 as part of Make Music Winter, an event which transforms New York’s cityscape with participatory musical parades in honor of the winter solstice. When a festival or other institution wishes to stage a Tilted Axes event, a call is put out to local guitarists to apply to participate. When an ensemble is selected from the applicants, they are given via MP3s and PDFs the music to be performed at the event so they can learn it in advance. A week before the event, Grant arrives with members of Tilt Core (an ensemble drawn from the larger group of NYC performers as a means to explore and experiment with new material), and rehearses the local musicians in the various techniques of musical performance, improvisation, and staging that make up the procession itself.

So now that all that background about the group is out of the way, what does it sound like? The album has a touch of Devo in the opening song “Shapes” that really grabbed me right away. It was catchy and fresh sounding and set things up for the rest of the album. “Polymetric Patterns” has the feel of “Baba O”Riley’s” instrumental parts and was a definite highlight. Although it is progressive rock, the best thing is that it does rock and that is important, something a lot of bands forget and just try to be “out there.” Case in point, “Beaubien Blues” is a great blues rock song that really gets in your ears and fills them with glorious sounds that you don’t want to ever stop. The band is top notch with so much feeling and emotion, as well as fun emanating from this album; it is infectious and got a smile on my face that didn’t go away. The band on this recording is composed of Patrick Grant, Matt Grossman, Daniel Reyes Llinas, John Halo, Randolph Hudson III, Reinaldo Perez, Nick Didkovsky, Gene Pritsker, Howard Glazer, Anthony Mullin, Larry Simon, all on electric guitar…….wow! On chapman stick is Jeremy Nesse, with Dan Cooper, and Patrick Grant on electric bass and on drums/percussion are John Ferrari and Cesare Papetti. As you can see, this is one fully loaded band and they use their talents with such expertise and precision that it makes you want to see this performed live.

This was an unexpected pleasure with songs that stand out and no histrionics from the players, just a great performance and songs that are actualy catchy and interesting, and worth hearing over and over again. If you think, like I did, that this kind of music couldn’t possibly be good, you are in for as much of as shock as I was……get it!

27 AUG 16

Album Review from England

Review: Tilted Axes – Music for Mobile Electric Guitars
By Progger

Whenever I hear someone throw around the term “instrumental prog,” my mind instantly conjures images of bearded men bludgeoning multi-stringed monstrosities with metronomic precision. Either that or I expect streams of lithe arpeggios and endless guitar histrionics (sometimes these elements are even combined into one song!). This saturation of like sounds in modern prog makes it easy to forget that there are artists out there who have chosen solely instrumental music as their muse and who do truly strange and innovative things within their subscribed genre. To that end Tilted Axes’ Music for Mobile Electric Guitars is one hell of a strange journey, and an invigorating breath of fresh air for experimental instrumental music.

First of all, I have to mention that Tilted Axes is a brainchild of composer and guitarist Patrick Grant, who gathered a team of other guitarists, percussionists, bassists and a Chapman Stick player to produce this varied record.

Nestled somewhere amongst the maelstrom of jazz fusion, classical/orchestral, alternative, and progressive rock lies the core of the sound of the album. No two tracks sound alike, and this refusal to bow to any particular genre convention makes for an intriguing and multifaceted listen. Rich orchestral strains surround the listener like a cosmic blanket, and the overall vibe is spacey and contemplative. The soundscapes at play, ambient at times and at others wholly supportive of the melody, grab the listener and refuse to let go. A tasteful and emotive guitar screams for attention above the din.

That is a victory of this record then, that it can at once be many things while also retaining a unique identity all its own. The songs demand the listener’s full attention, and a casual “one headphone on” experience this is not. There aren’t many egregious displays of technique on hand here (although make no mistake, this music is expertly played) only a masterfully constructed ode to dynamics and atmosphere. Every solo feels necessary and earned, every bend and run emotive, which is refreshing to see in a genre where that sense of restraint isn’t always apparent or heeded.

The record ultimately won’t be for everyone, as this group of 15 men takes their time developing these songs and atmospheres (although track lengths are kept surprisingly brief). The music rarely feels as though it meanders too long before finding its theme and stride, the soundscapes and melodies kept each other in check and supported each other well. For all of the genre and stylistic hopping going on, the overall package is very concise and the mix of disparate elements really works. This is good, because with so much hinging on experimentation this overall cohesion is key. Finally, I would highly recommend listening to the record in sequence, as I feel it is a more complete experience from beginning to end when digested in this way.


24 AUG 16

Today is International sTRANGE mUSIC dAY

Listen to some music you've never heard before. Stretch your ears. Build an instrument. Play it. Play it in public. Make people smile. For a good reason. Celebrate the power of the new, the unusal, the strange. Everything is strange the first time. Move forward.

23 AUG 16

WNYC's NEW SOUNDS: #3890 ~ Echoes of Crafty Guitar

On this episode, we explore music patterned like that of Robert Fripp's League of Crafty Guitarists project, which emphasized rhythmically interlocking composition and which spawned acclaimed practitioners around the globe. Hear from Patrick Grant's rock-forward (and cleverly-titled) Tilted Axes group, and explore selections from the more restrained and classically oriented quartet Instruments of Happiness. Enjoy a deep instrumental cut from the on-again-off-again British rock group Kitchens of Distinction. And marvel at the multi-layered strings of Valérie Milot as she recontextualizes Steve Reich's "Electric Counterpoint" for the harp. 

22 AUG 16

ALBUM REVIEW on Rocking Charts UK


Album Review: TILTED AXES – Music for Mobile Electric Guitars
August 22, 2016 #experimental, #fusion, #jazz, #King Crimson, #Music for Mobile Electric Guitars, #post-progressive rock, #progressive rock, #Robert Fripp, #Tilted Axes

The creation of an experimental album is not an easy task, as those who try to accomplish it are tasked with blending the three essential elements which define the sound of this genre (heaviness, dynamics and atmosphere) without relying one particular one too much. If it isn’t perfectly centered, the whole thing will go lopsided. In terms of experimental music, the slightest imbalance in your sound might throw off the whole album and break the listener’s immersion. Fortunately, the New York-based project, conducted by guitarist and composer Patrick Grant, Tilted Axes handled this balancing act with great sensitivity and skill in creating their gorgeous piece of experimental music, Music for Mobile Electric Guitars, which came out in July this year.

Clocking at almost 75 minutes, Music for Mobile Electric Guitars doesn’t feel long, given the genre’s usual album lengths. This album is filled to the brim with great moments within its perceived runtime. “Shapes 1”, the opening track, kicks off the record firing up on all cylinders.

It is in the third track, “Tilted Axes Theme” where ensemble starts giving away what a listener can expect from the group. Each song on the 17-track album contains remarkable sections which are moving from one to another without the feeling of fatigue.

Other highlights (if a multicoloured release like this one knows for the term highlight) include “Rivera Court” with its combination of a repetitive melody formatted in a psychedelic/indie vibe; swirling “Techno Tilt,” which has a classic Rock feel to it; nothing less electric “Asciae Obliquiae.” “Polymetric Patterns,” as its name suggests, tirelessly goes forth and back to further explorations within the jazz and rock circles.

“Kneadle Variation” and “Corridor 84 + Krimson Coda” include variations on material by King Crimson’s Robert Fripp. Overall, the album does bring the feeling of being connected with the experimentalism of King Crimson. According to the press release provided by the publicist, Patrick Grant has previously collaborated with Fripp on the Robert Fripp & The Orchestra of Crafty Guitarists project.

Mixing-wise, Music for Mobile Electric Guitars is really well-made as well. The guitars are crisp and clean, the drums have a lot of punch and sound roomy, the bass is actually audible. There obviously was great attention to detail involved, and the album is much better because of it. Get it from Bandcamp.

Follow Tilted Axes on Facebook.

21 AUG 16

STRiNGS & THiNGS Podcast w/ James Moore

photo credit: Isabelle Selby

STRiNGS & THiNGS Ep. 9: On this show, our host Patrick Grant sits down with James Moore, of the Dither Quartet, John Zorn, etc., and his National Steel String Guitar. They change their strings, talk about things, and even play a Chet Atkins ballad (!).

Listen to it on the link below or go to: http://www.stringsandthingsshow.com/

19 AUG 16

Tilted Axes Hits the Airwaves

Tilted Axes' new album gets its first airplay on WDET 101.9 FM's Modern Music with Jon Moshier on Friday, August 19th, 8-10pm EDT and immediately repeated at 10-12 midnight EDT.

Worldwide listeners can listen live or after-the-fact via podcast at the station's web site: http://wdet.org

Show page: http://wdet.org/shows/modern-music/

18 AUG 16

Let's Get Physical - in a CD Kind of Way

CDs have arrived and are going out into the world. A big thanks to Eric Iverson for the great graphics work. Looking good.

09 AUG 16

United Kingdom ~ Tilted Axes' Album Release News on PROG SPHERE

Read Prog Sphere's album release news HERE

EPK download
Album Release ~ Electronic Press Kit

available on
Google Play
Amazon MP3s

listen on

Album Release ~ Electronic Press Kit

04 AUG 16


International Strange Music Day
(August 24) was created by Patrick Grant, a New York City musician. The premise is simple: to get people to play and listen to types of music they have never experienced before. The ‘strange’ part can mean either unfamiliar or bizarre – the choice is entirely yours. Patrick believes broadening people’s musical spectrums can also change the way we look at other aspects of life – his mantra is ‘listening without prejudice’. This growing movement has concerts, a record label and strong support from summer schools, where it is appreciated as a great way to stimulate young minds. Have you ever wanted to combine a tight Wonder Woman costume, a frozen turkey drumstick and an inflatable wildebeest into a percussion concert? International Strange Music Day gives you the perfect excuse. What you do with these items once the music stops, of course, is your business…

iNFO TBA ???

29 JUL 16


EPK download
Album Release ~ Electronic Press Kit

available on
Google Play
Amazon MP3s

listen on

Tilted Axes: Music for Mobile Electric Guitars

01. Shapes 1
02. Circulation in G Maybe
03. Tilted Axes Theme
04. Pedal Swells
05. Theme Variation
06. Rivera Court
07. Techno Tilt
08. Kneadle Variation
09. Asciae Obliquiae (Anthem)
10. Alamo Tilt
11. Polymetric Patterns
12. Beaubien Blues
13. Corridor 84 + Krimson Coda
14. Shapes 2
15. Tuanna Claonta
16. Harmonic Revolutions
17. The Sound of Burning Chairs

Electric Guitars
Patrick Grant, Matt Grossman, Daniel Reyes Llinas, John Halo, Randolph Hudson III, Reinaldo Perez, Nick Didkovsky, Gene Pritsker, Howard Glazer, Anthony Mullin, Larry Simon

Chapman Stick:
Jeremy Nesse

Electric Bass:
Dan Cooper, Patrick Grant

Drums & Percussion:
John Ferrari, Cesare Papetti

Produced by Patrick Grant

Recorded at John Kilgore Sound NYC, Peppergreen Media NYC, and the Ferrari Factory NJ

Recording engineer for Kilgore sessions: Garry Rindfuss
Guitar and amp consultant for Kilgore sessions: Nick Didkovsky

Mixed at Mercy Sound Studios NYC
Mixing engineer: Garry Rindfuss

Mastered by Sheldon Steiger

Tilted Axes logo revamp by Eric Iverson

All titles by Patrick Grant except for Track 8 & Track 13 which include variations on material by Robert Fripp and used by permission of Discipline Global Mobile (DGM)

All titles published by Peppergreen Media (ASCAP)

Thanks & Acknowledgements: Aaron Friedman (Make Music New York), D'Addario Strings & Planet Waves, Danelectro, David Singleton (DGM), Electro-Harmonix NYC, Frank Sheldon, Korg USA/Vox Amps, James Gill (Mercy Sound), Jocelyn Gonzales (audio consultation), Michael Spudic & Cia Toscanini (ASCAP), Rivington Guitars NYC, Robert Fripp, Tony Geballe, Vasko Dukovski, and not to forget: Max & Melody

© Peppergreen Media, 2016. All Rights Reserved.

27 JUL 16

Album Mastering Completed

Even the building was tilted. Release info coming soon!

23 JUL 16

"The Emperor Responds to Mozart's Request for a Raise (Freedom's Ever Relative)"
music by Patrick Grant, text adapted from Anthony Burgess' Mozart and the Wolf Gang

performed by

Charles Coleman - baritone
Patrick Grant - klavier & Sprechstimme
John Clark - French horn
David Taylor - bass trombone
Lynn Bechtold - violin
Dan Barrett - cello
Dan Cooper - electric bass

this recording produced by Patrick Grant
mastered by Sheldon Steiger
for Composers Concordance Records' The Mozart Influence


is hereby appointed
at an annual salary
of eight hundred gulden

Ha! Eight hundred?
Gluck received two thousand!

Gluck was Gluck, Mozart's Mozart
Gluck produced eternal art
Yours is a diff'rent circumstance
You merely have to help the court to dance
Provide a background to its chatter
What does music really matter?

Cannabich at Mannheim earns eighteen hundred
Dittersdorf gets two thousand seven hundred
And what are they?


Learn decorum, sir.
I may remove this honor right away
It is not fitting to discuss
what a mere Kammermusicus receives,
what a Kammermusicus receives,
it is not fitting to discuss
what a Kammermusicus receives
from the Emp'ror's Trust

With all due deference, sire,
I bow and even grovel
But is not Europe changing now?
May not musicians join the throng,
at last respected,
the honored fonts of honest song,
no more dejected
as mere discardable machines
wound up to tickle
the ears of emperors and queens
whose tastes are fickle?
I realize that what I say
seem rank sedition,
but let me hail it while I may,
the coming dayspring of his day:
the Free Musician!

Thus a Kammermusicus
risen from the ranker ranks
gives his thanks

Freedom's ever relative
Emperor's are free to give
You have freedom to refuse
and may choose

Freedom to eat humble pie,
Freedom to decay and die,
Pen your bass or treble clef
for the deaf

Write your music,
hold your tongue
You are young
(but not too young)

The gold mouth
that is in your name
Learn to tame

Freedom's ever relative.
I have freedom to forgive.
Freely I extend it, so, so, so…
So I must go!

music © Peppergreen Media (ASCAP)
text used by permission

11 JUL 16

Mixing Complete for the New Album

Studio mixing on the new album has completed. Soon it's off to be mastered. Until then, it's "tweak now or forever hold your piece."

09 JUL 16

STRiNGS and THiNGS Episode 8 ~ Daniel Reyes Llinas

~ Guitarist/composer Daniel Reyes Llinas drops by to talk music, food, and perform an arrangement of a piece from his upcoming album. He'll take us back to his first 10 dollar guitar and trace his evolution as a musician through some of his favorite genres: classical, pop, new wave, metal, jazz, and how King Crimson's "Starless and Bible Black" became a major game changer.

Listen here:

Check it out and all other STRiNGS AND THiNGS episodes at: http://www.stringsandthingsshow.com/
Produced by Jocelyn Gonzales

05 JUL 16

STREAMING II (for Nikola Tesla)

STREAMING II (for Nikola Tesla)
by Daniel Rothbart and Milica Lapcevic
with music by Patrick Grant
Sunday, July 10th | 1-6 pm EDT

Presented by
Francine Hunter McGivern | The Frank Institute @ CR10

STREAMING II (for Nikola Tesla) is a video work by Daniel Rothbart and Milica Lapcevic with music by Patrick Grant. Blending archival footage of Tesla’s hydro-electric power plant at Niagara with new winter imagery of the Niagara River Whirlpool and Falls, STREAMING II celebrates the 160th anniversary of Nikola Tesla's birth. Protean forms of water, from mist to torrent, intermingle with imagery of turbines and power lines, evoking themes of science, art, nature, and spirituality. USA and Serbia, 2016, 11:54.

Simultaneous screenings will take place at the Tesla Science Center at Wardenclyffe, New York (USA), Belgrade Nikola Tesla Airport (SERBIA), the Musée national de Kragujevac (SERBIA), Ozalj Hydroelectric Power Plant (CROATIA), Jaruga Hydroelectric Power Plant (CROATIA), and the Univerza v Mariboru Library (SLOVENIA). Thanks to Manuela Graf of Cluster of Cultural Routes.


20 JUN 16

Strings and Things Episode 7: Angela Babin

On this episode of Strings and Things, Angela Babin drops by to work on a Melody Maker that hasn’t been out and about in years, while our host Patrick Grant restrings his studio-weary Les Paul. They’ll swap stories about the weirdest gigs they’ve played in New York City, and talk about how numbers and math inspire Angela’s current compositions. Then they’ll amp up for a special Strings and Things duet.

Listen here:

16 JUN 16

#TBT Double Throwback ~ Silent Treatment

New York Times ~ June 15, 1990


New York Magazine ~ May 29, 1989


12 JUN 16

Robert Fripp & the Orchestra of Crafty Guitarists performs and Finds Completion in the Midwest & Detroit

To Those Who Know And Who Are Known...

The Guitar Craft Workshop is in process of being dismantled.

Guitar Craft, The Guitar Circle, The League Of Crafty Guitarists and The Orchestra Of Crafty Guitarists will cease to exist on Sunday 25th. March, 2017.

In a traditional model, apprentices served in a workshop, grew in personal stature, capacity and understanding, left the place of their instruction, and moved out into the world to establish a studio or workshop of their own, or form a partnership with others.

Perhaps some of you feel called upon to continue to act in service to the creative current we recognize acting in and through Guitar Craft and its several forms. You have my support and encouragement.

If this is so, put your own name, and/or find the right name, for that work. It is legitimate to present your lineage; and the extent, degree and participation in Guitar Craft and Guitar Circle courses, projects and activities. It is illegitimate for anyone to claim authorization or mandate, moving forwards, to formally represent and/or direct forms of Guitar Craft and The Guitar Circle.

I have seen claims made, in the professional arena, to have been a student of Robert Fripp. No “student of Robert Fripp” would claim to be a student of Robert Fripp.

Robert Fripp
Sunday 12th. June, 2016;
St. Mary’s Retreat Center, Oxford, Michigan

07 MAY 16

NEWS: Summer Album Release

TILTED AXES: Music for Mobile Electric Guitars

01. Shapes I
02. Circulation in G Maybe
03. Tilted Axes Theme
04. Polymetric Patterns
05. Theme Variation
06. Rivera Court
07. Techno Tilt
08. Kneadle Variation
09. Asciae Obliquiae (Anthem)
10. Pedal Swells
11. Alamo Tilt
12. Beaubien Blues
13. Corridor 84 + Krimson Coda
14. Shapes II
15. Tuanna Claonta
16. Harmonic Revolutions
17. The Sound of Burning Chairs

Electric guitars: Patrick Grant, Matt Grossman, Daniel Reyes Llinas, John Halo, Randolph Hudson III, Reinaldo Perez, Gene Pritsker, Howard Glazer, Nick Didkovsky, Anthony Mullin
Chapman Stick: Jeremy Nesse
Electric bass: Dan Cooper, Patrick Grant
Drums & percussion: John Ferrari, Cesare Papetti

Recorded at John Kilgore Sound, Peppergreen Media, and various remote locations.
Mixed at Mercy Sound Studios NYC
Recording & Mixing Engineer: Garry Rindfuss
Guitar and amp consultant for Kilgore sessions: Nick Didkovsky

Acknowledgements and thanks: Jocelyn Gonzales, Aaron Friedman & Make Music New York, Rivington Guitars, Danelectro, St. Marks Church-in-the-Bowery, Brooklyn Battery Works, Marshall Amplification, Alex Baxter, Exploring the Metropolis, Steve Carter, The Con Edison Musician’s Residency, Emon Hassan & Guitarkadia, Thomas Deneuville & I Care If You Listen, Cia. Dos Atores, Gael Grant, P. J.’s Lager House, Michael Jackman & The Metro Times, Sue Mosey & Midtown Detroit Inc., The Detroit Institute of Arts, WDET, Cafagna Entertainment Network, The Detroit Artists Market, Inn on Ferry Street, Ann Delisi, Skeeto Valdez, The Majestic, Ron Knevels, The Charles H. Wright Museum of African American History, Wayne State University, Eric & Mary Iverson, Motor City Brewing Works, Glenn Cornett & Spectrum NYC, Pignose Amps, Korg USA, Vox Amps USA, GAMA/Discover Guitar, The Music Building NYC, Lester St. Louis, D’Addario Strings, Strings by Aurora, Down & Dirty DV, Mayor Bill de Blasio & the City of New York, Bob Sadler & The Detroit Historical Society, Dean Western, GHS Strings, The Funk Lab at United Sound Systems Recording Studios, Dan Tatarian & Showtime Clothing Detroit, Steve Ball, Sandra Bain Cushman, Kathrin Tiedemann & The Forum Freies Theater Düsseldorf, Musik Kunz, Landes Hauptstadt Düsseldorf, John Hicks, Rodrigo Marçal, Robert Fripp & The Guitar Circle of North America, Tony Geballe & The New York Guitar Circle, The Alchemical Theatre Laboratory, Harry Smolowitz, Carta Azul, Frank Sheldon, Jude Closson, Le Marche du Nain Rouge, Paula Messner & The Bestest Concert Ever, Jeff Adams, The Detroit School of Rock and Roll, Ralph Valdez & The Dearborn Community Arts Council, Ismael Ahmed & The Arab American National Museum, The Concert of Colors, Walk Thru Walls, The Don Was Detroit All-Star Revue, Sally O’Mally & The Tiltmobile, The Village Halloween Parade, Natalia de Campos, Fractured Atlas, Electro-Harmonix NYC, Sean & Laura Biggs, Leslie Stevens, Chad Ossman, Richard Wise, Thiago Cury & The Festival Música Estranha São Paulo Brazil, Vox Amps Brazil, David Singleton, Max and Melody

All titles © 2011-2016 by Patrick Grant/Peppergreen Media (ASCAP) except for Track 08 © 2016 Fripp/Grant Track 13 © 2016 Grant/Fripp by permission of Discipline Global Mobile

TILTED AXES: Music for Mobile Electric Guitars
Official web page: http://www.tiltedaxes.net/tiltedaxes.html
Email - General Contact tiltedaxes@peppergreenmedia.com
Facebook Fan Page: https://www.facebook.com/tiltedaxes
EZ Press: http://tiltedaxes.net/Tilted-Axes-EZ-PR.html
Follow us on Twitter @tiltedaxes



22 APR 16

"New" Work for Chamber Orchestra

It has been a 30 year journey to get a "world premiere" by an actual chamber orchestra (only non-MIDI electronic demos have existed up until this point), so, the news is, my Baroque Variations (1986) gets its debut next month on May 21st courtesy of Composers Concordance and their annual Generations Concert.

Pictured here is the original sketchbook (upper right), the first printing I made of it when I worked at Edition Peters Group (C.F. Peters) 1987-1989 (upper left), and the current Sibelius drafts in short score for the upcoming performance in the lower half. In the original sketchbook, you can make out address 1520 York (Ave.). This is because most of this piece was written when I was driving a car service by night while being a student by day. I often jotted down my pick-up addresses into the score as they came to me over the car radio.

Though it could be thought of as a "student work," it's more like my purging and parody of all things polyphonically imparted up until that point. I still hold the Fugue and Finale to be solid stand-alones and serve well to indicate where I'd be and what I'd be working on three decades later.

It is fitting that it appears on CompCord's annual "Generations" Concert where awards are given to the youngest and the oldest composers involved. Thankfully, I remain in neither of these two categories though the work presented does indeed cover the span of at least a single generation. A full circle experience.

Lincoln Square Neighborhood Center
250 West 65th St., New York City


07 APR 16

Robert Fripp & the Orchestra of Crafty Guitarists XIII to Perform in Detroit

Robert Fripp & The Orchestra of Crafty Guitarists XIII

June 10, 2016
Friday 7:00 PM - 10:00 PM
Saint Anne de Detroit Catholic Church
1000 Ste. Anne St., Detroit, Michigan

Tickets on sale now

- related performances in
St. Louis Park, MN - June 02
Madison, WI - June 03
Chicago, IL - June 04

17 MAR 16

TUANNA CLAONTA - St. Patrick's Day Mix


What's quasi-modal, moves in similar motion, and has a title that only the kissing of the Blarney Stone would make easier to pronounce? It's TUANNA CLAONTA ("Tilted Axes" in Irish Gaelic), a promotional track for the group's forthcoming album release due later this spring.

Performed by Patrick Grant, Matt Grossman, John Halo, Daniel Reyes Llinas - guitars, Dan Cooper - bass, and Cesare Papetti - drums.

(c) 2016 Patrick Grant /Peppergreen Media (ASCAP)

23 FEB 16

Now Available on iTunes ~ Strings and Things

Listen HERE

15 FEB 16

Studio Work: Tracking, Mixing, Mastering

For the next 8 weeks: studio work and project completions of all sorts, long time coming.

12 FEB 16

Podcast Premiere - "Strings and Things" - stringsandthingsshow.com

At some point every guitarist has to do it, so why not hang out with some friends and have fun while you're at it? This is Strings and Things, the show where musicians come by to change their strings, talk about all kinds of things and make some music. We hope you'll join us for the new Strings and Things podcast, a Peppergreen Production for Headstepper Media. Listen at http://stringsandthingsshow.com

Bi-weekly podcasts of musicians changing their strings while talking about things.

22 JAN 16

NEW RELEASE - A Musical Micro-Drama with Libretto by Anthony Burgess

NEW RELEASE: January 29 - "The Emperor Responds to Mozart's Request for a Raise," a musical micro-drama with libretto by Anthony Burgess (A Clockwork Orange, Mozart and the Wolf Gang) and music by Patrick Grant for vocalists and chamber ensemble, part of Composers Concordance's new release "The Mozart Influence." This celebratory album has music by Gene Pritsker, Dan Cooper, Milica Paranosic, David Taylor, John Clark, W. A. Mozart, and more.

Performed by The CompCord Ensemble: Charles Coleman - voice, Chanda Rule - voice, Milica Paranosic - voice & gusle, Patrick Grant - voice & harpsichord, Lynn Bechtold - violin, Dan Barrett - cello, John Clark - horn, David Taylor - bass trombone, Gene Pritsker - guitar, Dan Cooper - bass, Javier Diaz - percussion & voice, Gernot Bernroider - drums, Franz Hackl - trumpet, mixed & mastered by Sheldon Steiger

For complete info or to pre-order on iTunes, go to: https://itunes.apple.com/us/album/the-mozart-influence/id1071080236

05 JAN 16

The Detroit Music Awards April 29, 2016

Honored to become a voting member of the Detroit Music Awards!

2016 25th Anniversary Detroit Music Awards to be held on Friday, April 29th at the Fillmore Detroit. The Detroit Music Awards Foundation is a Michigan non-profit corporation, whose mission is to recognize Detroit area musicians working on a national, regional and local level. Its purpose is also to support and nurture the musical community in the Detroit metropolitan area, and to create a network for musicians that cuts across genres and styles.


04 JAN 16

ASCAP Plus Award for 2015

Happy to receive an ASCAP Plus Award today reflecting 2015's work. The award "...rewards writer members of all genres whose works were performed in unsurveyed media as well as writer members whose catalogs have prestige value." Either way, that sounds about right. So, the New Year's off to a good beginning. Thanks, ASCAP, you rock! http://www.ascap.com/ - Patrick Grant, NYC

29 DEC 15

We Made It!

A huge thank you to all the individuals and organizations that helped TILTED AXES: Music for Mobile Electric Guitars achieve its 2015 fourth quarter fundraising goal. This generosity will not only be put toward the free concerts and events we are known to give to a wide ranging public, but will also be applied to:

1. Furthering our outreach both locally & globally
2. The development and the rehearsal of new material
3. The completion and release of Tilted recordings & video
4. Strings & Things - the winter launching of a podcast series featuring conversations with musicians talking about strings…and things
5. The Astronomy Project - a 10th anniversary continuation and expansion of a performance collaboration between musicians and astrophysicists begun in 2006 and currently destined for planetariums

Wishing everybody a very Happy New Year and a unprecedented 2016!

TILTED AXES: Music for Mobile Electric Guitars
Web page: http://www.tiltedaxes.net/tiltedaxes.html
Email contact tiltedaxes@peppergreenmedia.com
Facebook Fan Page: https://www.facebook.com/tiltedaxes
Press, photos, info: http://tiltedaxes.net/Tilted-Axes-EZ-PR.html
You can now also follow us on Twitter @tiltedaxes

Tilted Axes: Music for Mobile Electric Guitars
is a sponsored project of FRACTURED ATLAS, a non-profit arts service organization. Contributions for the purposes of Tilted Axes: Music for Mobile Electric Guitars are tax-deductible to the extent permitted by law. Individuals may donate by credit card at the following link: DONATE

21 DEC 15

Happy Anniversary, TILTED AXES: Music for Mobile Electric Guitars!

Four years ago today, Tilted Axes made its debut at Make Music New York's 1st annual Make Music Winter on Wednesday, December 21st, 2011 in New York City.

Now, 1,461 days past, the project has been produced in a number of cities on three continents. More to come in the New Year. Thank you to all the musicians, presenters, and sponsors who have make everything possible. Guitarists, bassists, and percussionists - you are the most awesome.

Here's to the future tilts that await!

16 DEC 15

Expanding in 2016...

Tilted Axes'


02 DEC 15

Video by VOX Brasil #MusicaEstranha15

VOX - Tilted Axes no Festival Música Estranha em São Paulo

Published on Dec 2, 2015
Patrick Grant, criador e compositor do Tilted Axes, é um grupo de guitarras ambulantes que se apresentou no festival Música Estranha, um dia antes de se apresentar na Av. Paulista.

05 NOV 15

General Call for TILTED AXES: BRAZIL Guitarists is Now Open


Você toca guitarra e se vê em uma apresentação diferente e única, pelas ruas de São Paulo? Então acesse agora mesmo o link abaixo e veja como participar da oficina 'Tilted Axes: Música para Guitarras Ambulantes', proposta pelo compositor e músico americano Patrick Grant. Uma combinação inusitada de música contemporânea, música para teatro e performance de rua. Inicia-se em formato de workshop, culminando em apresentações.

Oficina nas manhãs de 24 até 27 de novembro, em São Paulo. Performances dias 28 e 29 de novembro, também em SP.

São somente 12 vagas. Inscrições gratuitas até 14 de novembro. É bom correr!


02 NOV 15

Tilted Axes NYC - Halloween 2015

Front row:
Reinaldo Perez, Natalia de Campos, Cesare Papetti, Patrick Grant, Gael S. Grant, Marlon Cherry, Gene Ardor. Back row: Michael Joseph, Dan Cooper, Jeremy Nesse, Leslie Stevens, Jocelyn Gonzales, Aileen Bunch, Rob Knevels, Steve Carter, John Lovaas, Angela Babin, John Halo, Kevin Pfeiffer, Sarah Metievier Schadt, Daniel Reyes Llinas, Chad Ossman, Matt Grossman.

28 OCT 15

Electro-Harmonix Joins as Tilted Axes Supporter

happy to announce that Electro-Harmonix will be a supporter of TILTED AXES' future work (The Astronomy Project).
Thank you, EHX! You rock!

21 OCT 15

Audience Numbers Expected to Reach 250K By Year's End

IT WOULD BE NO EXAGGERATION to say that, in 2015 alone, Tilted Axes: Music for Mobile Electric Guitars will have performed for over 250,000 people. This includes Tilt Core performances, appearances at the Marche du Nain Rouge and the Concert of Colors Festival in Detroit, the NYC Village Halloween Parade, and the upcoming series of Tilts in São Paulo & Rio de Janeiro in late November/early December. Still weighing our options on how best to complete this landmark year and to begin the next.

19 OCT 15

TILTED AXES @ Village Halloween Parade Oct. 31st

"Monster Riffs & Creepy Chords"

"The children of the night! What music they make!" - Dracula (1931)

Tilted Axes: Music for Mobile Electric Guitars
(http://peppergreenmedia.com/tiltedaxes.html) has been invited to be a part of NYC's world famous Village Halloween Parade (http://halloween-nyc.com/) and for 2015 is bringing back the classic no-holds-barred big-time Tilt.

For more iNFO, send an email to: tiltedaxes@peppergreenmedia.com

GUITAR: Gene Ardor, Angela Babin, Aileen Bunch (Philadelphia), Matt Grossman, John Halo, Michael Joseph (Philadelphia), Rob Knevels (Detroit), Daniel Reyes Llinas, John Lovaas (Chicago), Chad Ossman, Reinaldo Perez, Kevin Pfeiffer
BASS: Dan Cooper, Sarah Metevier Schadt (Chicago)
PERCUSSION: Cesare Papetti (groove leader), Marlon Cherry, Gael Grant (Detroit)
STANDARD BEARERS: Jocelyn Gonzales, Harry Scott
SATELLITES: Natalia de Campos, Leslie Stevens

New York's Village Halloween Parade is an annual holiday parade and street pageant presented on the night of every Halloween in New York City's Greenwich Village. Stretching more than a mile, this cultural event draws two million in-person spectators, more than sixty thousand costumed participants, dancers, artists and circus performers, dozens of floats bearing live bands and other musical and performing acts, and a world-wide television audience of one hundred million. The Village Halloween Parade, initiated in 1974 by Greenwich Village puppeteer and mask maker Ralph Lee, is the world's largest Halloween parade and the only major nighttime parade in the United States.

The parade has been featured in many national magazines and travel guides, and has been a subject of study by leading cultural anthropologists. According to The New York Times, "the Halloween Parade is the best entertainment the people of this City ever give the people of this City."

15 OCT 15


AIRING TODAY Oct. 15th on Manhattan Cable TV NYC and streamed worldwide via the web at 11:00 AM EDT (1500 UTC/GMT): My interview on "Conversations with Harold Channer." Wow, he gave me the whole hour. Since that was way too long for me, it'll be without doubt, way too long for you, too. What-a-workout. I managed to keep the ball in play and still, it was great practice for things ahead. In Manhattan, that's 11:00 AM on Channel 34 on Time/Warner, Channel 82 on RCN, & Channel 33 on Verizon FiOS Cable Television. It will also be streamed simultaneously in HD at http://www.mnn.org - click on Channel 1 at the site.

27 SEP 15 ~ 09 OCT 15

TILTED AXES @ Village Halloween Parade Oct. 31st

"Monster Riffs & Creepy Chords"

Tilted Axes: Music for Mobile Electric Guitars
(http://peppergreenmedia.com/tiltedaxes.html) has been invited to be a part of NYC's world famous Village Halloween Parade (http://halloween-nyc.com/) and for 2015 is bringing back the classic no-holds-barred big-time Tilt.

For more iNFO, send an email to: tiltedaxes@peppergreenmedia.com

GUITAR: Gene Ardor, Angela Babin, Aileen Bunch (Philadelphia), Matt Grossman, John Halo, Michael Joseph (Philadelphia), Rob Knevels (Detroit), Daniel Reyes Llinas, John Lovaas (Chicago), Chad Ossman, Reinaldo Perez, Kevin Pfeiffer
BASS: Dan Cooper, Sarah Metevier Schadt (Chicago)
PERCUSSION: Cesare Papetti (groove leader), Marlon Cherry, Gael Grant (Detroit)
STANDARD BEARERS: Jocelyn Gonzales, Harry Scott
SATELLITES: Natalia de Campos, Leslie Stevens

New York's Village Halloween Parade
is an annual holiday parade and street pageant presented on the night of every Halloween in New York City's Greenwich Village. Stretching more than a mile, this cultural event draws two million in-person spectators, more than sixty thousand costumed participants, dancers, artists and circus performers, dozens of floats bearing live bands and other musical and performing acts, and a world-wide television audience of one hundred million. The Village Halloween Parade, initiated in 1974 by Greenwich Village puppeteer and mask maker Ralph Lee, is the world's largest Halloween parade and the only major nighttime parade in the United States.

The parade has been featured in many national magazines and travel guides, and has been a subject of study by leading cultural anthropologists. According to The New York Times, "the Halloween Parade is the best entertainment the people of this City ever give the people of this City."

29 AUG 15

BASHER (Shape 1) from THREE SHAPES - Tilted Axes

Because, sometimes, only power chords in 4/4 will do.

26 AUG 15


September 6-7, 9-10


written & performed by Joseph Keckler
directed by Uwe Mengel
with musical arrangements by
Patrick Grant & Dan Bartfield

For venues, times, & tickets, go to:


25 AUG 15

And So It Was...

... INTERNATIONAL STRANGE MUSIC DAY 2015. Thanks to everybody who set aside some time yesterday to expand their aural horizons, to point out new music worth our attention, and to all those who took the initiative to create new things for us to listen to. From all over. I myself have been sent enough tracks and links to keep me busy catching up for a year. I'll do so happily with a curious ear. Onward and into the world!

#InternationalStrangeMusicDay #StrangeMusicDay #StrangeMusic

24 AUG 2015

International sTRANGE mUSIC Day, August 24, 2015
this year dedicated to children (young and old)

Greetings People of Earth,

It's been 17 years since I first flew the Strange Music banner during our inaugural concert at the Knitting Factory in New York City. Since then, 'Strange Music' has become many things: a record label, concert series, a social irritant, but most famously, a day to stretch one's ears by either listening to or playing music that is new to you. It's all relative.

Since this holiday observance came into existence during an otherwise holiday-less month, it's actually been picked up by a number of small organizations around the world: a blog here and there, a growing throng of adventurous radio stations, but mostly by a number of summer school programs searching for a creative way to occupy idle hands and ears. An internet search will turn up pages and pages of such schools.

I urge you to spend a moment with your young ones and blow their little minds with something exceptionally challenging to listen to, especially if you do not normally do so. If there are some instruments around, make up a song for the day. If not, make an instrument from stuff you have in the house.

A small gesture such as this would provide memories lasting a lifetime. The evidence of the benefits of engaging children in music has filled volumes. No reason to keep it simple: the stranger the better. Young ears have no prejudice.

You say that you don't have any kids around?
Then do it for yourself.
It will keep you young.

-Patrick Grant


01 AUG 15

Just Announced:

- Now it's official and can be announced: The 3rd Música Estranha – International Exploratory Music Festival, to be held in São Paulo, Brazil, from 25th to 29th of November 2015, has invited Tilted Axes to create a series of events for their city. Exactly how it will manifest itself is still in development (there's much work to do) but, it's very exciting to think of how things will sound with Brazilian musicians added into the post-progressive mix. Very.


31 JUL 15


"Monster Riffs & Creepy Chords"

New York's Village Halloween Parade
is an annual holiday parade and street pageant presented on the night of every Halloween in New York City's Greenwich Village. Stretching more than a mile, this cultural event draws two million in-person spectators, more than sixty thousand costumed participants, dancers, artists and circus performers, dozens of floats bearing live bands and other musical and performing acts, and a world-wide television audience of one hundred million. The Village Halloween Parade, initiated in 1974 by Greenwich Village puppeteer and mask maker Ralph Lee, is the world's largest Halloween parade and the only major nighttime parade in the United States.

Among the parade's signature features are its pageant sized puppets — giant rod puppets "articulated" by teams of puppeteers — and its open participation to anyone in a costume who wishes to march. It has been called "New York's Carnival." Although the parade is currently not as informal and wild as it was in its earliest years, it is in effect still an alternative festival.

The parade has been featured in many national magazines and travel guides, and has been a subject of study by leading cultural anthropologists. According to The New York Times, "the Halloween Parade is the best entertainment the people of this City ever give the people of this City." "Absolutely anything goes," says USA Today. "Be prepared to drop your jaw."

More iNFO to come at: https://www.halloween-nyc.com/

19 JUL 15


Here's a collection of some of the press and photo coverage that came out of it (videos & recordings asap):

FLICKR Photos - TILTED AXES @ Concert of Colors - photos are all downloadable - credit: Jocelyn Gonzales
Dress Rehearsal in the Funk Lab at United Sound: https://www.flickr.com/photos/kimba2/sets/72157653692200003
CofC - Tilt 1 - July 11: https://www.flickr.com/photos/kimba2/sets/72157653722014784
CofC - Tilt 2 - July 12: https://www.flickr.com/photos/kimba2/sets/72157656035775272

IXITI - The Experience Engine - Interview with PG of Tilted Axes

DETROIT FREE PRESS - Coverage of the Concert of Colors w/ Tilted photos:

OAKLAND PRESS - Revue of Don Was' All-Star Revue w/ Walk Thru Walls (members of Tilted Axes)

The adventure continues. With the completion of our this project, we are already planning the next events for the 2015-2016 in the USA and abroad.
Thanks again to everyone who made this recent work possible and a reality. Count on us moving forward and hoping to see you at our next Tilt.
We can be anywhere!

TILTED AXES: Music for Mobile Electric Guitars
Web page: http://www.tiltedaxes.com/tiltedaxes.html
Facebook fan page: https://www.facebook.com/tiltedaxes
Follow us on Twitter @tiltedaxes

11 JUL 15


POLYMETRIC PATTERNS is a piece whose intention is to be a form of kinetic audio sculpture. Nothing much changes on the surface but the layers can run deep. On our Saturday Tilt we "installed" ourselves in front of Orchestra Hall as one of the stops on our procession thru the Concert of Colors' venues. This is what happened. (video from Jocelyn Gonzales) P.S. - Check out the street dancer and penny whistle obbligato ca. 2:20.

01 JUL 15


On July 11, Tilted Axes: Music for Mobile Electric Guitars will be performing and processing in the vicinity of the Wolverine Outdoor Stage from 5:00 pm to 8:00 pm. At approximately 6:45 pm, Tilted Axes will take the stage to officially premiere one of the new pieces commissioned by the Concert of Colors 2015.

On July 12, Tilted Axes: Music for Mobile Electric Guitars will be performing and processing in the vicinity of the Wolverine Stage from 3:00 pm to 5:00 pm. A special finale is being planned for somewhere in the neighborhood.

GUITAR: Jeff Adams, Sean Biggs, Aileen Bunch (Philadelphia), Jude Closson, James Keith La Croix, Erik Grant, Eric Iverson, Bob Kaufman, Rob Knevels, John Lovaas (Chicago), James McGlinnen, Chris McGorey
BASS: Dean Western, Sarah Metevier Schadt (Chicago)
PERCUSSION: Skeeto Valdez (groove leader), Gael Grant, Jocelyn Gonzales (NYC)
SATELLITES: Emma McGlinnen, Diane McGorey
TILTMOBILE: Sally Omally Schroeder

Click Here for Performer Bios

@TiltedAxes #CofC2015

Complete iNFO HERE

17 JUN 15


Tilted Axes: Music for Mobile Electric Guitars @ The Concert of Colors
has been approved for 501(c)3 not-for-profit fiscal sponsorship through Fractured Atlas (how fitting). All contributions will now be tax-deductible to the fullest extent of the law. Today marks the beginning of a new level for the project within the USA.

Project Page:

Tilted Axes: Music for Mobile Electric Guitars
is a sponsored project of FRACTURED ATLAS, a non-profit arts service organization. Contributions for the purposes of Tilted Axes: Music for Mobile Electric Guitars are tax-deductible to the extent permitted by law. Individuals may donate by credit card at the following link:

16 JUN 15


GAMA, the Guitar Accessories & Manufacturing Association & Discover Guitar, has awarded a Program Grant to Tilted Axes: Music for Mobile Electric Guitars for its participation in this year's Concert of Colors in Detroit. That's much appreciated recognition & financial support. Thank you!

15 JUN 15

THE GUITAR CIRCLE - B&I ORCHESTRA - Directed by Robert Fripp - Hope, NJ - June 13, 2015

09 MAY 15

TILTED AXES to Perform at Detroit's CONCERT OF COLORS July 11 & 12

Various locations in Midtown, Detroit
Saturday & Sunday Afternoon

The Concert of Colors is metro Detroit’s free annual diversity music festival. It is produced by the Arab American National Museum with partners Detroit Symphony Orchestra, Detroit Institute of Arts, Charles H. Wright Museum of African American History, ACCESS, Midtown Detroit Inc. and University of Michigan – Detroit Center. The goal of this five-day festival is uniting metro Detroit’s diverse communities and ethnic groups by presenting musical acts from around the world. Over its 23-year history, the festival has become a artistic highlight of metro Detroit’s summer festival season, and one of the few free-admission music festivals remaining locally.

World music, including the indigenous music of the Motor City, is the major focus of the Concert of Colors, but not the only focus. The festival also offers ethnic food and merchandise vendors and an annual Forum on Community, Culture and Race, which examines the role of arts and culture in overcoming racial and ethnic barriers.

The Concert of Colors was established by Ismael Ahmed – then head of the Dearborn, Michigan-based human services organization ACCESS – and New Detroit in 1993 as a one-day event at Chene Park on Detroit’s riverfront. The inaugural event drew a modest crowd to Chene Park, but by 1999, some 10,000 music lovers were coming out each year. The festival expanded to three days in 2001, when it was part of the official festivities for Detroit’s 300th birthday, drawing an audience of 100,000. In recent years, annual attendance at the Concert of Colors has been about 80,000.

More iNFO @ www.concertofcolors.com

appearance at the Concert of Colors 2015 is made possible through the extra support of The Dearborn Community Arts Council, Korg USA & VOX Amps, Midtown Detroit Inc., United Sound Systems Recording Studios, Showtime Clothing Detroit, and the ASCAP Plus Awards.

05 MAY 15

WALK THRU WALLS Reforms to Perform at Detroit All-Star Review Concert 2015

members Eric Iverson, Patrick Grant, Jude Closson, & Dean Western reform the original WALK THRU WALLS new wave band as part of the DON WAS DETROIT ALL-STAR REVUE 2015 CONCERT on July 12th.

This year's revue honors 80s Detroit radio personality THE ELECTRIFYING MOJO whose on-air journey of musical and social development shaped a generation of music-lovers in Detroit and throughout southeastern Michigan and Canada and was of importance to the development of Detroit techno.

Presented by
The Concert of Colors

Max M. Fisher Music Center
3711 Woodward Ave.
Detroit, MI
8 PM


was a new wave band on the Detroit scene from 1981-1984. The nucleus of the group was songwriters Patrick Grant (synthesizers & vocals) and Eric Iverson (guitar & vocals). Grant is a composer and performer living in NYC since 1985 and is the creator of Tilted Axes: Music for Mobile Electric Guitars. His work history includes John Cage, the Philip Glass studio, Billy Joel & Quincy Jones, avant-garde theatre visionaries Robert Wilson, The Living Theatre, and he is currently an active member in The Orchestra of Crafty Guitarists lead by Robert Fripp. Iverson is an artist, musician, and programmer from Detroit. His other musical collaborations over the years include creating techno music with Ex Machina, making effects pedals with Red Panda, and he is also a founding member and regular performer with the Detroit branch of Tilted Axes. Dean Western (electric bass) has been playing in Detroit bands for over thirty years. He has had the pleasure of working with many creative and dedicated people during this time and is pleased to be a part of this event. Jude Closson (percussion) has played drums and guitar with rock/alternative bands in the Detroit area since the 80s. He started out on drums with new wave group Walk Thru Walls and moved on to many other punk/rock groups and into the present day with Celtic Rock group Bill Grogan’s Goat. WTW thanks everybody involved.

10 APR 15

Judith Malina, a visionary of the theater, has left us. A mentor, collaborator, and friend. RIP (1926-2015)

Judith Malina and Living Theatre composer Patrick Grant in 2007.

The Zero Method
by Hanon Reznikov (1991) based on Wittgenstein's Tractatus Logico-Philosophicus. Peformed by Judith Malina & Hanon Reznikov. Directed by Judith Malina. Original score & live soundscapes by Patrick Grant.

27 MAR 15


15 MAR 15


Friday, March 20 - Equinox Procession
Downtown Royal Oak - various locations

Pop-up performances in the evening
If you're there, you won't miss us!
#tiltedaxes for our location

Saturday, March 21 - 4th Annual The Bestest Concert Ever
5:00-8:00 PM - Royal Oak Farmers Market

316 E 11 Mile Rd, Royal Oak, MI
w/Horse Cave Trio, Motor Honey, Candy Band, Evenin' Gentlemen
Activities Include: Rockin the Red Carpet photos, Crazy Hair Salon, Zany Face Painting and a haute couture dress-up station. You can also get your hand immortalized in wax with Creative Arts Studios or play all the instruments you can imagine at the Mccourts Musical Petting Zoo. New this year is Gem Mining with the Miners Den!! Also play games with the Royal Oak High School Drama Club and Band Boosters!! Hungry and thirsty? There will also be some super yummy food available for purchase including Detroit BBQ, Treat Dreams and The Market Cafe. Milking It Productions will also be on hand with their famous AXL Pale Ale and BRIK Red Ale for the over 21 set. $5 admission - kids welcome

FB event page: http://tinyurl.com/pfrlou8

Sunday, March 22 - Marche du Nain Rouge
1:00-3:00 PM - Midtown Detroit

Beginning at Traffic Jam & Snug (Canfield & 2nd Ave.)
Ending at the Detroit Masonic Temple, 500 Temple St.
Procession route map: http://tinyurl.com/k4ecvlg
Supposedly, for 300 years, on the Sunday after the Vernal Equinox, Detroiters have celebrated liberation from the Nain Rouge, the fiendish embodiment of all that holds us back. Revelers dressed in costume converge at or near Cass Park and hope for better things for Detroit’s future, celebrating whatever is good and working in the city: happiness, success and freedom from the antagonism of the Nain in the new year. Unfortunately, on occasion, the Nain Rouge is able to manifest, and reveals himself to the revelers, taunting them with tales of his evil machinations and plans meant to bring the city down. Just in case, revelers are advised to come in disguise, so the Nain can’t exact revenge.

More info at: http://marchedunainrouge.com/

Performers include: Patrick Grant (NYC), Paula Messner, Skeeto Valdez, Howard Glazer, Rick Matle, Jeff Adams, Erik Gustafson, Bob Kaufman, Chris McGorey, Dean Western, Eric Iverson, Gael Grant, James McGlinnen, John Halo (NYC), John Lovaas (Chicago), Jude Closson, Rob Knevels, Sarah Metevier (Chicago), Erik Grant, Sean Biggs, and others TBA

Tilted Axes: Detroit 2015 is powered by the help and support of VOX amps, KORG/USA, Discover Guitar, Peppergreen Media (ASCAP), Strange Music Inc., Candy Band, Showtime Detroit, The Metro Times, McCourt’s Music Royal Oak, & The Detroit School of Rock and Pop

11 MAR 15

Demand TILTED AXES in Your City

Go to www.WeDemand.com/TiltedAxes

10 MAR 15

Tilted Axes & Bestest Concert Ever IV Previewed

Get Ready to Rock at 'Bestest' Concert
The Observer & Eccentric Newspapers
by Diana Wing, Guest Columnist

This year's fourth annual "Bestest Concert Ever" at the Royal Oak Farmers Market is sure to be the "bestest" by far. Royal Oaker Paula Messner, guitarist and songwriter for Candy Band, has a great eclectic lineup of live music, plus kids' activities, and food and beverages for this family-friendly event that runs, 5-8 p.m. Saturday, March 21.
"It's going to be so fun this year," she said.

Rockin' the Red Carpet photos, a Crazy Hair Salon, Zany Face Painting and a haute couture dress-up station will get the fun started. Kids can make a wax replica of their hand with Creative Arts Studio, try out a range of instruments at the McCourts Musical Petting Zoo, go gem mining with the Miners Den, and play games with the Royal Oak High School Drama Club and the Band Boosters.

Messner has planned an eclectic lineup of performances for the night. Of course, the Candy Band moms will be playing children's favorites, along with original songs. Their music is a blast for adults, too. The intensity will grow with Horse Cave Trio, known for their high energy roots rock, also characterized as high-octane roadhouse blues or outlaw country rock 'n roll. Motor Honey is a five-piece band fronted by Sara Covatta whom Messner describes as having a "beautiful voice." The group performs a mix of rock, soul and funky grooves – American Soul.

Messner also invited Evenin' Gentlemen who have a collective 100-plus years as active members of the International Barber Shop Harmony Society. They currently sing with the Detroit Oakland Gentlemen songsters and provide "wholesome and pleasing entertainment across a range of genres in the barbershop style."

Guitar procession

No doubt the headliner for this year's "Bestest Concert Ever" will be Tilted Axes: Music for Mobile Electric Guitars. Founded in 2011 by composer/performer and Detroit native Patrick Grant, Tilted Axes is an electric guitar procession of upwards of 30 performers who wear portable amps strapped on their sides or backs. It has the energy of rock and it's part street theater as guitarists walk through the downtown New York City art scene and other communities.

"We have a bit of a guerrilla esthetic," said Grant in a highly entertaining promotional video. "We're able to go where the public is. That is the beauty of being mobile."

Messner invited Grant to perform at the "Bestest Concert Ever" because she had taken part in a Tilted Axes procession last summer in Detroit.

"We started outside the Detroit Historical Museum and we did a song. We marched up Woodward. We went outside of the library and the DIA and around the Wayne State campus," she described. "We went into a restaurant where people were having lunch and drinking a beer … and we just filled the place. We all stood there and played a song and everybody (at the restaurant) their jaw hit the floor, and then we left. They never knew what hit them!"

One bass player and a snare drum player usually perform with the group. Grant writes the original music for guitar. There are four-six parts, so not everyone plays the same thing.

"One guitar might be playing chords, one might be playing notes. They all go together," Messner said. "There are certain songs where I break out in a lead and it will be my solo, and I can do whatever I want and everybody backs me up. Then somebody else will come out and do a solo.

"Some of the songs are complex and everybody's got notes taped to their guitar and clipped on, so it's a little crazy. But it's a lot of fun and I was really glad to be a part of it last year."

Messner expects about 15 performers in the Tilted Axes Detroit crew will play at the "Bestest Concert Ever." She and fellow guitarists will rehearse the week before when Grant come into town. If the weather is permitting the mobile electric guitarists might wander around downtown Royal Oak the night before the concert, Messner said. Spring, and possibly an equinox procession, is just around the corner.

Admission to the "Bestest Concert Ever" is only $5 (children 3 and younger are free), with 100 percent of profits going to the Royal Oak Optimist Club which organizes and helps to support numerous youth activities. The Royal Oak Farmers Market is located at 316 E. 11 Mile. Call 248-246-3276. Visit http://www.tiltedaxes.com/tiltedaxes.html to watch a video of Titled Axes in action.


01 MAR 15

Upcoming Tilted Axes: Detroit Shows Previewed in the Metro Times

Tilted Axes to return to Detroit — and Royal Oak?
By Michael Jackman

"Remember Tilted Axes? It's the brainchild of Detroit native and New York experimental composer Patrick Grant, a procession of electric guitars playing compositions in public places. Grant has brought the performance, which he's staged in Germany and New York, to Detroit's Cultural Center, and returned last year for the city's 313th birthday.

This year he's back, and his choices are even more interesting, in that he's chosen to participate in larger events that perhaps match the creative spirit of his endeavor. 

The axes will be rocking in the Detroit area for three days this March, including March 22, at the Marche du la Nain Rouge (this iteration of Tilted Axes will become the decidedly Francophone "Haches Incliné"), adding to the insurrectionary spirit of the event. His schedule also includes the Bestest Concert Ever IV, on March 21, at the Royal Oak Farmers Market, and something called the Equinox Procession in downtown Royal Oak on March 20…"

Read the full article HERE

27 JAN 15


07 JAN 15


TILTED AXES: Music for Mobile Electric Guitars

Combining the energy of rock, the creative discipline of theater, and the experimental spirit of the downtown NYC arts scene, Tilted Axes is both a processional event, and an ensemble of mobile electric guitarists created by composer/performer Patrick Grant.

Inspired by his background in gamelan music and vanguard theater work, classically-trained post-rocker Grant conceived of Tilted Axes in 2011 as part of Make Music Winter, an event which transforms New York’s cityscape with participatory musical parades in honor of the winter solstice. Tilted Axes was a way of untethering the electric guitar from both heavy stage amps and traditional band structures, as well as bringing live music directly to its audience.

The guitarists of Tilted Axes perform original compositions written specifically for the event by Grant as well as those from the Tilted repertoire, using portable amplifiers strapped to their sides as they walk through the city streets. The outdoor procession of musicians moves along predetermined routes in selected areas, in honor of an event, landmark, or organization unique to that community.

Since its inception, Tilted Axes has evolved as a project with multiple incarnations in New York, Detroit, and Düsseldorf, Germany. In 2015 the project will manifest itself in performances in the USA, Europe, and South America.

The musical pieces themselves, with their interlocking sections, make room for many kinds of genres and grooves. A democratic approach to interpretation allows the musicians - soloists, rhythm players, and percussionists - to shine in an ensemble of uncommon textural power. Flexible in number, Tilted Axes adapts itself to the environment or occasion, and feeds on the energy of a constantly shifting audience.

Tilted Axes cuts musical pathways through the urban landscape, turning neighborhoods into sonic narratives. As a form of street theater, the ensemble brings potent, ecstatic riffs, and an element of surprise, to an unsuspecting public. Tilted Axes is always in motion; striding in, rocking out, and moving on.

The process is simple: When a festival or other institution wishes to stage a Tilted Axes event, a call is put out to local guitarists to apply to participate. When an ensemble is selected from the applicants, they are given via MP3s and PDFs the music to be performed at the event so they can learn it in advance.

A week before the event, Grant arrives with members of Tilt Core (see below) and rehearses the local musicians in the various techniques of musical performance, improvisation, and staging that make up the procession itself.

A procession route within the host city is predetermined. The routes often include city squares, centers of transportation, and indoor structures like museums. The procession is accompanied by posters and placards which let the public know more about the event, sponsors, the hosting organization, and its purpose.

Above all: it rocks.

TILT CORE is an ensemble drawn from the larger group of NYC performers as a means to explore and experiment with new material.

Its smaller size, 5-9 members, enhances musical and practical possibilities. Outside of the larger processional projects, Tilt Core is a more agile and easily presentable ensemble as well a its members serving as the creative catalysts for future Tilted Axes work.

More iNFO at ~


Contact: tiltedaxes@peppergreenmedia.com

Tilted Axes and Tilt Core are powered by VOX amps through the help of KORG/USA and Discover Guitar

Patrick Denard


Jazz Inspiration

2015 nEWS Items

2014 nEWS Items

2013 nEWS Items

2012 nEWs Items

2011 nEWs Items

2010 nEWS Items

2009 nEWS Items

2008 nEWS Items

2007 nEWS Items

2006 nEWS Items

2005 nEWS Items

2004 nEWS Items

2003 nEWS Items

2002 nEWS Items



All rights reserved © Patrick Grant / Strange Music Inc. / sTRANGEmUSIC

Strange Music, StrangeMusic, and sTRANGE mUSIC are all trademarks and service marks of Strange Music Inc.


Return to the Strange Music Inc. homepage