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Brendon Randall-Myers

Brooklyn, NY      

Brendon Randall-Myers is a Brooklyn-based composer and guitarist with an affinity for complex, cathartic, endurance-based music at various intersections of rock, experimental, theater, and classical. Described as “fiercely aggressive but endlessly compelling” (The San Francisco Chronicle), “intricate and dynamic” (I Care If You Listen), “massive in its impact” (Sarasota Herald-Tribune), and “an exhilarating blast of energy” (Chicago Classical Review), his music aims to induce trance/flow states via repetition and amplification, inspired by experiences on 20-mile runs and performing in punk and metal bands.

Brendon has written for classical musicians – pianists (Miki Sawada), string quartets (Friction Quartet), chamber ensembles (Exceptet), and orchestras (Chicago Symphony, Omaha Symphony) – as well for cross-genre/experimental groups like Bang on a Can, Dither, and Bearthoven.  He co-leads two groups – Invisible Anatomy, a multimedia avant-rock ensemble described as “sometimes haunting sometimes hilarious and consistently mesmerizing,” (I Care If You Listen) and Marateck, “a gripping math-rock band, combining shattered, wiry abstraction with moments of delicate atmosphere” (Tone Madison) – with whom he tours frequently, performing throughout the US and China. His creative work has received support from the Jerome Foundation, New Music USA, New York State Council for the Arts, the Guitar Foundation of America, the Foundation for Contemporary Arts, and ASCAP.

As a performer, Brendon is a member of of the absurdist art-rock band Ecce Shnak and the Glenn Branca Ensemble, having conducted the latter group since Branca’s death in 2018. He performs frequently with avant-electric guitar quartet Dither, and has performed as a freelancer with orchestras (China Philharmonic, Chicago Symphony, Atlanta Symphony), indie bands (Magik*Magik, Fay Kueen), contemporary classical groups (Ensemble Signal, Contemporaneous), and in operas and experimental theater (Opera Saratoga, Object Collection).


Bloom is part of A Kind of Mirror, a 40′ set of music written for pianist Miki Sawada. Bloom draws on Sawada’s superhuman playing and endurance to create piano music that feels electronic, and blends in electronic sounds and processing as a kaleidoscopic reflection of the live piano part.
Performed live on May 1, 2019 by Miki Sawada, piano. Scenic and lighting design by Daniel Pettrow. Filmed and edited by Christopher and Mary Smith.

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Gaslight is excerpted from Invisible Anatomy’s show Illumination, which explores conflicting viewpoints, the limits of language and communication, and moments when perceptual information does not match up with our expectations and understanding.

Performed live at the cell theatre 3/1/2019 by Fay Wang, voice; Ian Gottlieb, cello; Paul Kerekes, keyboards; Brendon Randall-Myers, electric guitar; Ben Wallace, percussion; Michael McQuilken, projections and director; Maxx Berkowitz, lighting stage tech. Filmed and edited by Michael McQuilken.

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Dynamics of Vanishing Bodies is a five-part, 37’ work built around musical elements that are perceived by the ear and brain but not directly articulated by the performers, using the physical presence of sound to evoke forces exerted on us by objects and people that are not physically present. These elements, created via a combination of psychoacoustics, extended techniques, and technology, act as singularities around which the rest of the music orbits.
Performed live by Dither: Taylor Levine, James Moore, Gyan Riley, and Brendon Randall-Myers.

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