Paper Wasps documents the sound of wasps continuing to construct their nest after it had fallen from its original hanging location in a barn. The recording captures buzzing, chewing, and material manipulation as the wasps work among broken fragments of the hive, tucked behind an old window frame on the barn floor. Recorded using a high-resolution portable field recorder, the piece reveals an active, textural sound environment shaped by persistence and adaptation.

Brooklyn Bridge is based on contact microphone recordings made on the bridge itself, capturing resonant vibrations produced as traffic passes overhead. Rather than documenting surface noise, the work reveals a sustained, magnetic hum shaped by the structure’s material and acoustic properties, reflecting an approach to listening that uncovers subtle textures embedded within everyday environments.

— “Brooklyn Bridge swells with a magnetic hum around the resonant properties of the bridge itself, as it is ‘played’ by the traffic constantly rushing over it.”
Jim Haynes, The Wire, July 2001

Its sounding material consists of recorded pizzicato cello pitches played on a sampler, MIDI-triggered by a Max/MSP audiofile conversion of recordings of Gertrude Stein and James Joyce reading their own work. As such, it is an undeniably “post-modern” take on modernism, reframing literary voice as musical material.

— from a review by Spencer Grady, Dusted Magazine, February 16, 2006

Field House Five explores subtle relationships between electronic tones and environmental sound, weaving together four soundscapes that evoke cycles of shelter, growth, and change. Bell-like electronic elements merge with lightly processed field recordings, creating a calm, atmospheric listening space shaped by gradual transformation rather than overt gesture.

— “A more melodic approach to Hudak’s working methods… a beauty.”
Editions Vaché