yugenro music

Music has always been my ultimate love in life. Check out my aesthetics writings for my philosophy of music.

I have always had music around me. My mother owned a spinet piano in the house i grew up in, and she played it and sang beautifully. My family always sang together, in church, in the car on family vacations, at birthdays and holidays. My oldest sister Terri was the first singer i was conscious of singing harmonies. But we all could sing in harmony with each other. I remember my father singing love songs to my mother in the car on night drives– verrry romantic.

But it wasn't until I was 13 or 14, when I bought my very first 8-track tape– Styx' The Grand Illusion, from my sister Dedee as part of her high school band fundraiser– that i became fully enraptured by music. I'd lie on the bed next to her stereo, put on the headphones and The Grand Illusion, and be off in "la-la-land" for the next 45 minutes. What really got me back then were three things: the vocal harmonies, the synthesizers, and the rich depth of the stereo field under headphones.


King Felix: Rivers & Viens
Hagia Sophia Arts

yugen: cloud-hidden
wu-wei (wwr1)

Makak: Visiting Dog
wu-wei (wwr2)

yugen: logos, eros, cosmos
wu-wei (wwr3)


1964 – 1982

  • singing rounds in the car on family vacations.

1970 – 1980

  • church choir

1975 – 1977

  • Jr. High choir

1977 – 1982

  • High School choir: my first real chorus; always highest marks in UIL choir contests.


  • Texas All-State Choir, Tenor II

1982 – 1983

  • voice major, Rice University choir

1983 – present

  • yugen (my solo projects): ambient/new age/experimental instrumentals, dreamy love songs, layered vocal tone-poems, etc.
  • Syntax (with Dell Little): new age instrumentals, electronic pop songs, progressive ballads.

1983 – 1984

  • Del Mar College choir
  • Parkway Presbyterian Church choir: my first payed singing gig

1985 – present

  • Renjeaux (with Dell Little, Domingo Leija & Luis Longoria): progressive, new age, art rock, lately become more experimental, jazz-inspired techno-improvisations.

1985 – 1986

  • Church of the Good Shepherd Senior Choir (Jim Buonemani, director): professional-level, world-class chorus.

1987 – 1988

  • King Felix (with Geoff Walden, Wade Ozment & Mitchell Player): progressive/art rock.


  • Del Mar College African Percussion Ensemble (Gregory Spayd, director): technically-accurate West African hand drumming+percussion.

1989 – 1990

  • Del Mar College Electronic Percussion classes (Dr. Norman Weinberg, director): electronic/ambient new age instrumentals

1990 – 1991

  • Makak (original incarnation with Keith Krause & Marcus Medina): experimental acoustic/electro folk-rock.

1990 – 2003

  • drum circles (with the world!)

1994 – 1996

  • Makak (second incarnation with Keith Krause & Greg Willman): tribal drums+percussion

1995 – 1996

  • Graduate Studies in trance music & rhythm (with Dr. Norman Weinberg)
  • Master's Project: logos, eros, cosmos, Texas A&M University-Corpus Christi

1997 – present

  • Roshen (with Milena Worsham): dramatic vocal performance art


  • L.O.S.S. (with Keith Krause & Alberto Duran): unfocused instrumental acoustic/electronic gaelic-ambient-rock


  • Ornamental Ether Experience (with Milena Worsham, Keith Krause & Dru Harrison): experimental improvisational/organic acoustic/electronic "opium house"; live looping.

2002 -2003

  • collaborations with Atactic (Craig McGonagil): instrumental electronic/ambient dub, performance art
  • Full House (with Robert Valerius, Geri Crowe-Eliff, Marge DeWitt, Dick Hermann): five-part a capella vocal ensemble

Posted via email from Keith’s posterous

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