Closely (2017) a series of litigiously motivated suites featuring the reappropriation and reformulation of works by composers who have a social status pertaining to at least one aspect of: holding counter cultural importance, holding a social image of radicality, progressiveness, and/or rugged individualism. Recent years have seen the idea of a maverick as one who holds to the idea of a preservation of hierarchy and ultimately a conservative force.

These claims to individuality and genius are put under the methods of scrambling, stretching, and transposing live via an acoustic granular and microsound methodology in real time and in a process that literally and effortlessly  via the exploitation of psychoacoustics, creating new compositions and  sounds "out of thin air"  that were not present in the original work. The hubris of these composers are matched and amplified by the reexamination by the composer and performers, creating a new extreme and logical conclusion to terminate their mission.

The title indicates that the notes are played closely to the original, but also closely with each other to manipulate acoustical phenomena, the parenthetical title is simply the source without the vowels, consonant but still standing regardless of the so called ā€œIā€ of the original composer. These pieces are collaborative with the original material, performers, and ultimately audience.