Golden Arm Trio

“It’s highly appropriate that this endeavor gets its name from such an evocative film (The Man With the Golden Arm). With a here-and-there juxtaposition of mood and atmosphere, Austin’s Golden Arm Trio grabs you like a jealous lover in the throes of co-dependency. And you don’t mind one bit. Although the trio designation would lead you to believe otherwise, this forever fluctuating collective is really more of an expansive outlet for vanguard pianist/percussionist Graham Reynolds to explore a variety of musical tangents. Besides Reynolds, the only musician appearing on every song is ace tenor sax player Thad Scott. Jazz is the closest genre you can tie this music to, yet the Trio’s sometimes discordant intensity leans more toward experimental fringe-dwellers like John Cage and Raymond Scott”.

– Austin Chronicle

Purchase on Itunes or Amazon

 

Richard Linklater

Graham has collaborated five times with iconic independent film director Richard Linklater (Slacker, Dazed and Confused, School of Rock), starting with a simple piano score for the short “Live From Shiva’s Dance Floor” in 2003. Featuring Timothy “Speed” Levitch, star of the documentary The Cruise, “Shiva’s Dance Floor” is a film essay on 9/11 exploring ideas about what to do with the land at Ground Zero. Not long after, Linklater asked Graham to score A Scanner Darkly which he was adapting from the Philip K. Dick novel.  Keanu Reeves, Robert Downey Jr. and Winona Ryder starred in the rotoscoped film; shot in live action and then animated over.  The score which featured acoustic instruments and electric guitar processed through computer effects was declared “Best Soundtrack of the Decade” by Cinema Retro Magazine.  After Scanner came Bernie starring Jack Black.  The music needs for Bernie were totally different: hymns, strings, country music and more.  Graham worked with directly Linklater and Jack Black to choose the hymns then arranged them for Jack on organ or piano.  In 2012 Graham scored Linklater’s first TV series Up to Speed broadcast by HULU and once again starring Speed Levitch as the lead.  Graham wrote several themes and adapted them for each episode as the quirky travel show moved from city to city.  2013 brings the release of Before Midnight, the third of Linklater’s deeply personal romantic trilogy featuring Julie Delpy and Ethan Hawke. The score required a sparse, intimate sound – piano, guitar, bass, and vibraphones were the only instruments.  Before Midnight is the most well reviewed film Graham has worked on, with powerful endorsements such as Slate Magazine stating that the “Film is not just good, it is nearly perfect.”  More to come in this ongoing collaboration.

 

Salvage Vanguard Theater

Graham has scored a lot of theater but the bulk of it has been with two nationally-recognized companies, the Rude Mechs and Salvage Vanguard Theater. Austin is an extremely active theater town with multiple companies producing shows year-round.

Salvage Vanguard’s resident artist program included a five year stipend and was critical in helping Graham make the transition from part-time to full-time professional composer. The company has produced two of Graham’s chamber operas and he has scored more than a dozen plays for them over the years. The highly successful hit show The Intergalactic Nemesis has toured the world many times over.

Salvage Vanguard Theater based in Austin, TX, is a nonprofit organization that provides accessible, affordable, artistic exchanged between a diverse, inclusive community of artists and audiences through high quality experiences that foster experimentation and generate conversation.

In Progress:

“River of Gruel” – Original songs and score, sound design. Directed by Shawn Sides and Jenny Larson. Script by Sibyl Kempson. Produced in collaboration with New Dramatists (NYC), Fusebox Festival, Rude Mechs, Salvage Vanguard Theater, Rubber Repertory and Physical Plant. Work in progress performances at New Dramatists (NYC), Prelude Festival (NYC), Fusebox Festival and The Off-Center.

Past Productions:

2013 “Invisibile Inc.” – Original Score. Directed by Beth, Script by Paul Menzer. Produced by Hidden Room Theater at the Long Center for the Performing Arts, Austin.

2012 “Toil and Trouble.” – Original Score. Adapted from Shakespeare and directed by Connor Hopkins. Produced by Trouble Puppet Theater at Salvage Vanguard Theater.

2009 “Spacestation 1985” – Original Score. Script by Jeff Mills, Jason Newman, and Brent Werzner. Produced by Flashflood Productions at The Tank, New York City

As Resident Composer At Salvage Vanguard Theater

2011 “Guest by Courtesy.” Original score. Directed by Jenny Larson. Script by Hannah Kennah.

2010 “An Extraordinary Birth of Rabbits” by C. Denby Swanson

2009 “Iphegenia: a Rave Fable” by Caridad Svitch

2007 “Mud” by Caridad Svitch

2005 “Genghis Khan” libretto by Jason Neulander

2004 “Death of a Cat” by C. Denby Swanson

2003 “Sixteen Spells to Charm the Beast” by Lisa D’Amour

2003 “Motherbone” libretto by Karen Hartman, New York workshop presentation a New Dramatists

2002 “Intergalactic Nemesis: Twin Infinity” by Ray Colgan, Jason Neulander and Chad Nichols

2001 “Wallpaper Psalm” by Ruth Margraff, 2001 (Winner: Best Musical Direction, Austin Critics Table Awards)

2001 “Return of the Intergalatic Nemesis” by Jason Neulander and Ray Colgan

2000 “American Demons” a collaborative work

2000 “The Intergalatic Nemesis” by Ray Colgan, Jessica Reisman and Jason Neulander

1999 “Venus” by Susan Lori-Parks

1999 “The Cry Pitch Carrolls” by Ruth Margraff

 

Golden Hornet

Golden Hornet Project, Inc. (now known as Golden Hornet) is an Austin, Texas-based 501(c)3 nonprofit founded in 1999 by composer-bandleaders Graham Reynolds and Peter Stopchinski. Golden Hornet has premiered over 70 works by more than 60 composers rooted in wildly different musical backgrounds, with a special focus on composers who also play in bands. In 1999 this independent classical movement barely existed. Now it’s thriving in cities around the world.

MISSION As part of the movement to reinvigorate new classical music for the 21st century, Golden Hornet seeks to combine the best rock music practices with the best of the traditional concert hall through fostering composers, commissioning new music and presenting works in concert.

Golden Hornet Project is supported and funded in part by the City of Austin Economic Development Department, Cultural Arts Division.

The ambition and invention of instigators Graham Reynolds and Peter Stopschinski range from symphonies, soundtracks, to improvised superrock. Their recordings are a catalog of their adventures crossbreeding classical futurism and punk espirit.

-Rolling Stone

Ballet Austin

Led by artistic director and choreographer Stephen Mills, Ballet Austin is Austin’s most adventurous and nationally-recognized classical performing arts institution. 2008’s “Cult of Color”, a three-way collaboration between Mills, visual artist Trenton Doyle Hancock, and Reynolds, remains one of Graham’s all-time favourite projects. A year and a half later Graham worked with Stephen again, this time deconstructing and reconstructing Bach for a piece called “Bounce”. The next part of that series premieres this fall with variations on Mozart scored for amplified and effected cello and violin.

COLLABORATED ON:

2016-2017 “Belle Redux

2011 “Though the Earth Gives Way

2010 “Truth and Beauty

2008 “Cult of Color: Call to Color

 

Rude Mechs

Graham has scored a lot of theater but the bulk of it has been with two nationally-recognized companies, the Rude Mechs and Salvage Vanguard Theater. Austin is an extremely active theater town with multiple companies producing shows year-round. Look for Graham’s work with the Rude Mechs as The Method Gun tours the country.

From a sci-fi theremin filled score for Requiem for Tesla to sound design and piano score for the currently touring The Method Gun, Graham has been working with the Rudes for the last decade. Austin’s premiere, internationally-acclaimed company, the Rude Mechs made collaborative work represents Texas theater at top venues and festivals around the world.

In Progress:

“River of Gruel” – Original songs and score, sound design. Directed by Shawn Sides and Jenny Larson. Script by Sibyl Kempson. Produced in collaboration with New Dramatists (NYC), Fusebox Festival, Rude Mechs, Salvage Vanguard Theater, Rubber Repertory and Physical Plant. Work in progress performances at New Dramatists (NYC), Prelude Festival (NYC), Fusebox Festival and The Off-Center.

“Stop Hitting Yourself” – Original songs and score, sound design. Directed by Shawn Sides. Text by Kirk Lynn. Produced by the Rude Mechs at The Off-Center.

As Company Member of The Rude Mechanicals

2007 “The Method Gun” by Kirk Lynn (music and sound design)

2006 “Have You Ever Been Assassinated” by Rebecca Beagle

2004 “Stadium Devildare” by Ruth Margraff

2002 “El Paraiso” by Kirk Lynn

2001 “Requiem for Tesla” by Kirk Lynn

1999 “In the House of the Moles” by Terry Galloway

One of three companies in the country making theatre that matters.

–New York Times

 

Forklift Danceworks

20 dancing trash trucks on the old airport tarmac, 200 two-steppers in front of the state capital and a traffic cop’s daily motions carved into an intimate solo piece. These are some of Graham’s collaborations with Forklift Danceworks and Allison Orr – choreographer and artistic director. Turning everyday movements into art is Orr’s speciality and she’s become a favourite collaborator of Graham’s. Look for pieces with Austin Symphony Orchestra conductor Peter Bay as well as electrical line-men from Austin Energy in the future.

 

COLLABORATED ON:

2013 “PowerUP”. In Progress.

2012 “Solo Symphony

2010 “T is For: Two Hundred Two-Steppers on the Steps of the Texas State Capital

2010 “Traffic Maven

2009 “The Trash Project

 

 

Dionysium

The Dionysium offers a unique, innovative program of debate, lecture, declamation, theatrical presentation and music in a salon-like atmosphere on the first Wednesday of every month at the Alamo Village.

A typical Dionysium show will feature a lecture, a declamation, a drinking song, a film or live musical performance, an appeal to Dionysus, a fiction-writing contest, and plenty of strong drink. But the heart of every Dionysium is the debate, pitting two experts against each other in toe-to-toe parliamentary combat. Dionysium debate resolutions have covered everything from Social Security reform to the future threat of genocidal robots. Check out The Dionysium Website for full information.

“…they put on the coolest freaking variety shows…part lecture, part debate, part comedy; all parts rad.”

–Tolly Moseley, Austin Eavesdropper