Music
Eric Peacock has been formally making noise since 1989. Before that he just hadn't thought about it even though he played a few instruments, wrote primitive sound generating BASIC programs and provided sound effects for his extensive LEGO™ installations.
Though he studied contemporary, world and avante-garde music thoroughly as an undergraduate, Eric has always found himself back in the same place he started: collage. It was about the cut-and-paste, hands on, drag-and-drop. Arrangements over scores.
Played performances, one-off experiments and the now common stock sound libraries make up almost every piece of music Eric has produced. The occasional acoustic instrument, acapella vocal or homemade instrument becomes a part of a larger whole becoming unrecognizable. The result is that Eric's music sounds both amateur and heavily produced, though it wasn't always this way: the production only improved as the technology did.
Despite the heavily digital arrangements Eric has been focused on for years, he still itches for thematic acoustic projects. In 1996 he released A Partial Reconstruction of Days, the product of three years of a good idea that once born suffered a bad implementation, i.e. never record a pet project in your almost slum-level apartment with a 4-track and a lot of sketchy gear. For one thing, neighbors will complain when you're trying to do vocal warm-ups. This pushes one to do single takes and settle for less than was planned. They have every right to complain as well, but if all you've got is a tiny room and a big idea you have to do something.