Alexa Dexa is a multifaceted artist with footholds in composition, electronic sound design, and performance. Her toychestral electronic pop solo project parades her floating vocals, handcrafted soundscapes, and enough instruments made with children in mind to rival a playpen. Among her growing collection are her beloved toy pianos, pitched desk bells, and typatune.
After hours spent hiding my knees beneath a cloud-like landscape sculpted from my luminous pink dress and floating desk bells while the zany crew at Gold House Media filmed and tried to prompt my legs not to succumb to permanent pins & needles, and countless more hours that Director Natasha Beste spent weaving dreamlike skips and animations through the minimalist footage, we’re finally thrilled to announce the official release of my debut music video for “Leave”, a fan-favorite from my debut album “a symphony of band-aids for the visionary wound”.
Some love for “Leave” from The Joy of Violent Movement:
The recently released official video continues the young singer/songwriter’s reputation for striking dichotomy. The video filmed by Gold House Media and directed by Natasha Beste features Alexa Dexa on her knees in a luminous and billowing pink dress, which makes her and her bells seem as though they’re floating. Quick edits and spliced animated sequences evoke a dream-like logic, which helps further heighten the song’s ethereal, fever-dream like feel.
“Leave” is a single that she’s performed countless times and it appears on her debut full-length effort, a symphony of band-aids for the visionary wound, and the single is comprised of swirling 8 bit bloops and bleeps, chiming bells and Alexa Dexa’s effortlessly soulful jazz-like vocals. At the very core of the song is an urgent, obsessive desire — the sort that makes parting from a lover seem like the worst, most unendurable pain on earth.
In May of 2014 I was performing in Oslo, Norway on my first European tour when Oystein Kind of At The Loft Records approached me about doing a video session for my song “Slingshot”, which I later released on “Year of Abandon”.
It was at this video session that I learned from Oystein and his mixing engineer Jonas Kjolstad that Norwegians can acquire prescriptions from their doctors to vacation in Barcelona in cases of seasonal depression. (I can only imagine the hardships Scandinavian winters harbor as the middle of May brought hail and 32 degree weather and had me longing for gloves to keep my fingers from frosting over while carrying my toy piano around town.) Here was my view of Oslo during this discovery from the roof of At The Loft Records.
When I was in Dallas on my 4th US tour, my virtuoso vibraphonist friend and sometimes collaborator Nigel Newton invited me to a jam session where I became thoroughly enchanted with the theremin, an instrument that seemed to be made for my intuitive hand gestures and deep-rooted love for evolving, textural sounds.
So when Dave Ruder at Make Music Alliance contacted me about taking on a mass appeal event for Make Music New York this year, I had my heart set on bringing together a large number of theremin players to debut a piece I had begun imagining that rare night jamming in Dallas.
“At The Waterfront. On the Carousel. Organ Grinding.” is a stasis-oriented, minimal piece composed for 12 thereminis (Moog’s midi, pitch-correcting, and option-loaded version of the theremin). The debut performance took place at FDR Four Freedoms Park on Roosevelt Island as a MMNY 2015 mass appeal event. Special thank you to Moog for supplying the thereminis.
Anthony Jay Ptak
Sponsored by Moog.
Downloaded Pure Data and making my first patch. Feeling ultra nerdy and proud of it. Baby sound coding steps.