Current release
Night Vision
Nocturnal creatures see best in the dark and have curious synesthesia.
SLOW takes threads of texture, pattern, melody, and imagery and weaves multimedia tapestries that dilate one’s sense of time. By stretching time's effect on us these weavings serve as an antidote to our culture's growing sense of accelerating fragmentation.
Nocturnal creatures see best in the dark and have curious synesthesia.
Waving sea kelp is rooted to the ocean floor but yearns for the sparkling surface.
You are floating on a cloud at night, gazing through the frozen air as the stars are parted by shimmering light...
A legato melody on a complex synthesizer patch, spitting overtones like sparks from molten lava, hardening and darkening as it comes to a standstill.
A spacy trio (tri-et?) rendered by a prayer bowl, an acoustic guitar, and a cavernous reverb — with a bowl/cavern solo mid way through.
A hand-crafted experiment in dicing up time by playing guitar live into analog and digitally modeled electronics.
The next in a series for a forthcoming album, Elusive is two legato melodies searching for and occasionally finding each other.
Originally composed as a video soundtrack, Slow revised this piece for audio-only and serves it up as the first piece on an upcoming album.
A short soundtrack to a haunted dream constructed from guitar, analog electronics, and going to bed with a fever.
An in-progress piece with a baseline that I want to get it out there in raw form before I start problematizing it. If you make it far enough into the video there's a curve ball...
Short vignette of a slowly evolving piece from an upcoming release.
Improvised audio tape mounted on a violin bow played into digitally modeled electronics.
Santa Fe Art Institute Artist-in-Residence Judy Natal will present their live audio-visual performance “The Weather Diaries,” alongside their sonic collaborator, SLOW (aka artist David Zerlin).
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Four key ingredients to the SLOW/MIX;
Texture — The "sound" of something – its smoothness, say, or its hollowness. Its timbre. Music is traditionally defined by sounds with tonal textures, but expanding outward to include a wider range can make for satisfying compositions.
Pattern — Beats, sections, measures, pulses – elements that can repeat or seam to repeat. Compositional patterns can work in short-term and long-term memory, creating expectations, then fulfilling or thwarting them.
Melody — Tonal material. Periodic content that can string together over time to form melody, or stack vertically to form chords and dissonances. These tend to linger in memory in ways we can repeat mentally whether we want to or not.
Imagery — For sighted people, what we see and what we hear fuses into a coherent experience. "Audio-vision," to quote Michel Chion. From an audience's perspective, audio compositions exist on a spectrum from visually arbitrary to visually intentional.
SLOW is the sonic laboratory of musician and sound artist David Zerlin.
While playing in alternative rock bands in the late 80's David also composed music for Chicago's theater scene. Recognizing the creative potential of sound in dramatic performances, David starting applying compositional techniques theatrical audio, eventually earning two "Jeff" awards.
David went on to formally study the interaction of sound with other time-based media, including creations and collaborations in film, video, performance, and installations. David has taught sound design at the University of Arizona, and the School of the Art Institute of Chicago.
Applying compositional strategies to sound, and infusing sonic, traditionally non-musical elements to his creations, David attempts to break down the distinction between sound and music
Late 2010's — Improvisational collaborations with experimental, largely acoustic musicians
Early 2000's — Band that used pop to challenge pop: Puckering Wink
Late 1980's — Alternative rock band: Monica's Interval
