Tim Feeney and Vic Rawlings have performed as a duo since 2005. Their music explores an unpredictable relationship with making sounds, achieved by elaborate preparation of acoustic soundboxes, such as drums or cello, and expanded via original electronic instruments, ranging from naked circuitboards to amplified kitchen objects. They focus on the metamusical potential of unstable sounds and silences, exploring austere combinations of sound and the otherworldly ripple effects that pulse through a silent space or alert ears. 

Rawlings is active as an improviser and instrument builder, specializing in modifications of existing instruments, creating extensive cello preparations. He also continually develops an electronic instrument from extant exposed circuitry, producing, in effect, a modular analog synthesizer with a highly unstable interface. This electronic instrument is paired with a flexible array of exposed speaker elements, chosen for their often unpredictable and idiosyncratic acoustic qualities.      


Excerpts from duo for Experimental Music Yearbook 2013Incubator Arts Project, Brooklyn, NY, October 5, 2012.

Fairchild Chapel. Homophoni 049 (defunct), 2011. 

Recorded at Oberlin College, February 26, 2010.

Thick snow blanketed both the piece and Northeast Ohio that evening. 


Ricardo Arias: New York - Bogota 2000-2010Audition Records ar044, 2010. 

Compilation of Arias's work, including trio performance with Feeney and Rawlings at the 2010 Floating Points Festival, Issue Project Room, curated by Stephan Moore and using his 15-speaker spatialization system.

Ithaca RecordingsThe Watchful Ear Listen Series 03, 2009.

In Six PartsSedimental sedcd050, 2007.

Reviews by Vital Weekly, Brian Olewnick (for the wonderful mid-2000s Bagatellen), and Brainwashed

“This latest offering from two stalwarts of Boston’s so-called lowercase improv community is as dour and uncompromising – but ultimately as rewarding – as Robert Bresson or Samuel Beckett… But despite its refusal to make the slightest concession to the listener, the music draws you in and doesn’t let you go.”

Dan Warburton, The Wire, September 2007

 Selected Performances

OpenSound, Boston, MA, May 2018

159 Sutton St, Providence, RI, May 2018

Incubator Arts Project, St. Mark’s Church-in-the-Bowery, New York, NY, October 2012

William Paterson University, October 2012

CarnivOINC Festival, Oberlin College, March 2012

University of California-Santa Barbara, October 2011

Songlines, Mills College, October 2011

The Stone, New York, NY, June 2011 (trio with Lou Cohen, computers)

No Idea Festival, Austin, TX, January 2011

Floating Points Festival, Issue Project Room, New York, NY, July 2010 (trio with Ricardo Arias, balloons)

Dartmouth College, May 2010

University of California-Berkeley, September 2009

The Metaphysics of Notation, graphic score by Mark Applebaum, Stanford University Art Museum, September 2009

University of California-Davis, September 2009

Hampshire College Creative Music Collective series, Northampton, MA, November 2005

Knitting Factory New York, June 2005

Kevin Ernste

Kevin Ernste