G. Lucas Crane is a sound artist, performer, and musician whose work focuses on information anxiety, media confusion, and recycled technology. Using a combination field recordings culled from the underbelly of the contemporary sonic media landscape and homemade electronic instruments, oscillators and broken machines, he creates compositions and performances as a reaction to, and illustration of, our information detritus choked times. Past work has dealt with musicality of a location or route, horror and phantasm in the information age, technology as abomination, the mystical presence of obsolete recording technology, recording as ritual, and the religious, poetic, and magical connotations of feedback and improvisation. Many of the soundscapes and collage work are built around quickly moving tape manipulations, the common cassette being a perfect example of old technology as iconic personal Gnostic totem. Years of environment recording and sample hunting have resulted in a broken library of material that is collaged together live, an information life that is constantly folding back on itself fractal-like, which he believes illustrates modern experience. Tape manipulation harkens back to the early days of experimental music, and in the context of the digital era it creates a sonic counterpoint on the continuum between hi and low fi, folk outsider and academic composition. Crane's work exists in a meditation on the blurred boundary between new and old tech and the emotional and social toll created by the rapid advancement of the technological sonic/environment.

Collaborations include sound design for the Performance Thanatology Research Society’s production of ‘History of Heat’ and 'The 50 Greatest Ladies and Gentlemen" at the Ontological Hysteric Theater in New York ; a batshit crazy full US tour with Woods; a European tour with drone collective Vanishing Voice; a production of ‘Oh What War’ at Here Theater in NYC with the Juggernaught Theater company; a ghost story album with Baltimore experimental vocalist Ric Royer; Machine design with New York electronic Instrument company CasperElectronics; Studio and performance work with musical entities Woods, Castanets, Grizzly Bear, and Wooden Wand; and solo performances as Nonhorse in the US and Europe. He also co-runs Silent Barn, an experimental art and performance space in Queens, New York City.
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