Sluicer (2023-curr.)

SFFX (2022-curr.)
Quarries (2016-22)
Sifting (2018-21)
Outwash (2019)
Rhythm Studies (2017-18)
Substitutions (2015)
Missents (2015)
Multipass (2015)
Emerald Tablets (2014)
10K Descents (2014)
Impellent (2012-14)
Locks (2013-14)
Adder (2012-13)
Sieves (2011-12)

Selected discography


Shawn Greenlee is a composer, sound artist, and Professor at Rhode Island School of Design (RISD) where he leads the Studio for Research in Sound & Technology (SRST).  His recent work explores spatial audio, high density loudspeaker arrays, and erratic sound synthesis techniques.

Greenlee has been active as a solo electronic / electroacoustic improvisor since 1997 and has toured extensively across the US and Europe. Conference and festival performances include New Interfaces for Musical Expression (2018 Blacksburg, 2015 Baton Rouge, 2014 London, 2013 Daejeon), International Computer Music Conference (2021 Santiago, 2018 Daegu, 2011 Huddersfield, 2005 Barcelona), BEAST FEaST (2017 Birmingham), PdCon16 (2016 New York), Cube Fest (2019, 2016 Blacksburg), Re-new (2013 Copenhagen), IN TRANSIT (2008 Berlin), and Elevate (2007 Graz), among others.

Greenlee’s solo and group discography spans over fifty releases. He is a founding member of Landed, active since 1997 and known for its deconstructed rock, rhythmic noise, and intense live performances. From 1999-2001, he performed with Six Finger Satellite.

Greenlee holds a Ph.D. in Computer Music and New Media from Brown University

Locks (2013-14)

Locks is a performance-based system that utilizes specialized audio transducers combined with signal processors and custom software for the restructuring of temporal, spatial, and spectral elements within audio recordings. These audio recordings are both short term (within the timeframe of the performance, of seconds and minutes) and long term (gathered outside the performance context, in the field, spanning hours, days, months). Locks centers on instrumental bricolage and indeterminate latency. The performer organizes found objects in, around, and between numerous, resonant metal vessels; and approaches this construction in a percussive manner using a variety of actuators. Objects include DC motors, rubber bands, spring clips, sticks, brushes, strings, metal washers, clothespins, and more. Several audio transducers, each routed through a different signal-processing network, pick up the sonic actions. The performer acts by situating musical gestures in the future, unable to precisely know in the present moment how the signals will be altered by the audio network. This work was included in the exhibition Unsold Art at Factory 593 (2013 Seoul, South Korea) and performed in New England club venues.