“Set to release his latest album, ​Brief Candles,​ on February 20th via \\NULL|ZØNE// (Flesh Narc, Frank Hurricane), Robidoux is once again creating without rules or restrictions. The record shifts shapes as it pleases, with everything falling in and out of place as constructed (and deconstructed).

Lead single Little Wall finds Robidoux joined once more by Isness partner YlangYlang, offering a warped and utterly infectious reimagining of popular music. The rhythm is slow and bass heavy, hitting somewhere between trip-hop and trap beats at half speed, but pieces are picked and pulled, scattered and shifted like an impressionistic painting. Robidoux and YlangYlang sing in close harmonies as the music stops and starts, their voices are tied together to composition’s alien path.”

— Dan Goldin, Post Trash











Sonifying Differently Structured Possibilities, a multichannel audio performance using EMF sound emitted from the lights in Dana Hemenway’s sculptures as a starting point for processed improvisation. In collaboration with Sally Decker and Mitch Stahlmann, Eleanor Harwood Gallery, San Francisco, CA, October 5, 2019. 


























Part of a project ongoing since 2016, "Irish Need Not Apply" is a critical study on ancestral journeys from Irishness to whiteness.

It is a survey of Irish culture based on a life in provincial Massachusetts and the fogged lens through which I view this culture.

Recorded April 2019 by Eclipse Quartet: Sarah Thornblade, Sara Parkins, Alma Lisa Fernandez, Maggie Parkins.









































frog pond long gone is a site-specific realization of a text score of the same name, written in homage to the late Pauline Oliveros: “I was deeply impressed by the sounds from the frog pond outside the studio window at Mills.  I loved the accompaniment as I worked on my pieces. Though I never recorded the frogs I was of course influenced by their music. Since that time many other composers have also been influenced by the sounds from the pond.”  


The debut performance of this piece was performed by a recorder ensemble, each member with push-lights, and the instructions “listen to / accompany the environment.  Press and depress the light, before and after sounding”. A video document revealed only the lights themselves, embodied in sound yet disembodied from the performers.  

The installation approaches the text score with multi-temporality: the central object of a Mills campus eyesore (the emptied pond) becomes a daily site of acknowledgement, renewal and meditation.  The viewer / listener is invited to commune with four improvisational portrayals.  The pond and its associative components meet in a window of site specific performance and documentation, binded by representational compositional modes in imitative counterpoint.


interpretation of a LaMonte Young event score on plastic recorders, Montreal QC, March 28, 2018