who we are

Ross Irwin &
Harry Leverette

Ross Irwin (MFA/Painting, Houston Baptist University) and Harry Leverette (MA/Literature, University of Houston) have been creating music together for twenty some odd years.

exhibitions

Houston Sinfonia, an experimental music installation (Art League Houston, 2017-18); music for sounds found in Houston, Texas; six motion-activated Rube Goldberg-ish music boxes, each of which plays a different part from the work and a video accompaniment

Prey, a sculpture installation with Rachel Gardner (Galveston Arts Center and Texas Art House, 2016-17); six hours of ambience (music for wolves) from two sound systems embedded among the sculptures

discography
press

Houston Sinfonia — music for found sound


music for wolves — sound design for Prey, a sculpture installation by Rachel Gardner

 

music for bunnies — ambience for Intrude, a sculpture installation by Amanda Parer

 

music for Moby-Dick — dark ambient opera for Herman Melville’s novel (in three parts)
 

silverpilen — ambient music for an abandoned train station in Stockholm

driving off the spleen — experimental music and video for driving off the spleen

Molly Glentzer -- "Art daybook: The sounds of Houston"
Houston Chronicle (January 3, 2018)
Irwin and Leverette have captured a sense of their hometown as it always is but is almost never heard consciously, starting with what is essentially the breath of the city: the clamor of home demolition and construction, the whir of air-condition compressors, the whine of passing trains, the bellow of toads after rain, the voices of local TV personalities and the once-a-year clickety-clack of rodeo trail riders… The effect is both otherworldly and oddly familiar - like an atmospheric soundtrack for a Ridley Scott film.

Dianna Wray -- Ted Cruz in a Psychedelic Video Reading Dr. Seuss

Houston Press (March 5, 2014)

 
The musicians, Harry Leverette and Ross Irwin, took a video clip of Cruz reading the book and turned his voice into midi-data that would then "play" a piano accompaniment that goes with the arrangement. The video takes the sound of Cruz's voice and pulls, manipulates and distorts it so that it becomes music that makes us think of the works of John Cage or Jean-Claude Risset. The piano, triggered by Cruz's voices, is a moody accompaniment that makes us think of the works of Satie. The end result is a bucket full of awesome.
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