Guitarist and composer Josh Lopes opens up about the intersection of classical chamber music discipline and underground experimentation. He walks through the collaborative history of Dither, the psychology of working directly under John Zorn, translating Laurie Spiegel’s planetary orbit tracking data to fretted instruments, and how an iPad mechanical failure turned a performance at the Stone into a living nightmare.
Timestamps:
00:00 - Intro
00:25 - From Rhode Island to the Avant-Garde Scene
01:46 - Euphoniums, Marching Band, and Transferring Schools
03:44 - William Paterson University and the "Bossa Nova" Trap
05:44 - Unlearning Jazz Robot Habits and Developing Soft Skills
06:39 - Getting Academic Probation for Breaking Into Shea
09:25 - The Difference Between Chamber Musicians and Jazz Players
11:47 - Forming the Electric Guitar Quartet
14:22 - The Intensity of Performing John Zorn's Game Pieces
18:39 - A Shattered iPad During a Solo Bagatelle
20:09 - A Weird Mother's Day Encounter with John Zorn
22:23 - Playing "Rugby" at The Kitchen
23:22 - Translating Laurie Spiegel's Electronic Scores
26:50 - The Pretentious Venice Biennale Concert
28:37 - Blasting White Noise for Sensory Deprivation Music
33:03 - The $100 Vintage Japanese Guitar Project
35:15 - Learning Tuvan Throat Singing in a Trader Joe's Milk Cooler
37:37 - Discovering "Genghis Blues" and Ham Radio Harmonics
41:56 - Teaching Music in Newark to Kids Who Don't Listen to Music
44:29 - Replacing Standard Notation with YouTube QR Codes
49:49 - Why Good Guitarists Secretly Have Mental Disorders
51:13 - Missing the Grit of the Old Stone
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