"...Striding, sword drawn, through a rosy landscape overlaid by dancing patterns of decades-old dust, burns, and scratches in celluloid, our middle-aged Chinese hero approaches the camera. Then he opens his mouth and, in perfect sync, utters a bemused "daaaamn!" in the voice of 32-year-old Texan Buzz Moran...."
"...He's improvising a complex tune on his keyboard by way of introducing the evening's next speaker, he's giving a slight nod to L.B. Deyo and Buzz Moran in the far corner of the room, and he's smiling...."
"...Tony was Tony Nozero, a drummer who was asked to provide the show's live sound effects, and Buzz was Buzz Moran, who was asked by Nozero to help. "I had always played around with getting sounds from nonmusical objects..."
"...In early 1993, just as Beets was about to abandon music altogether, he met guitarist cum drummer Buzz Moran. The two began writing songs together, and Peña came aboard shortly thereafter..."
"...But I'm going to mention the first one only in this paragraph, by way of a tip-o-the-hat to artist Jeff Scott and the Chronicle's food editor Virginia Wood, and the fine folks at Foreign & Domestic who feted our fortunate table with one of almost everything from that night's diverse menu. But I'll return to Scott and F&D in these pages again, to be sure. I'm also hoping to return to whatever next thing the tastemaking music-and-food impresarios of San Francisco's Noise Pop and graffEats projects do locally. Because that's the other dining experience that recently dazzled my sensorium. To the point where I can actually write "dazzled my sensorium" with a straight face. Noise Pop has this series they've been doing for years in California's Bay Area. It's called "Covers," and it's where graffEats chef Blair Warsham composes a multi-course meal based on the signature dishes of acclaimed chefs from around the nation. Like covering a song, see? Like how the Dum Dum Girls covered Morrissey's "There Is a Light that Never Goes Out," kind of, except that of course it's the tastes and textures, the whole culinary gestalt, of food that's being covered here. Sound good? Well, what sounds even better – literally – is that the whole glorious meal is accompanied by musical covers chosen to complement each course. Not just obvious choices based on wordplay – not somebody covering Chubby Checker's "Peppermint Twist" if there's a peppermint twist, say – although your hosts might be that endearingly goofy every now & again – but more subtle pairings of eclectic sonic goodness with what you're eating. Yeah, it does sound good, doesn't it? And to that, add this: Wine pairings provided by Wente Vineyards for each course, too, if you're so inclined. Perhaps, at this point, you're considering salivating? Perhaps, at this point, you're already considering attending the next "Covers" iteration? Let's take a closer look at this most recent one, first, this one that Noise Pop brought to Austin in time for SXSW and which they unveiled at the Swoop House. Yes: That's the place near East Seventh that's run by Stephen Shallcross and the savants of 2Dine4 Catering. Yes: That's the place that hosts those incredible Supper Friends dinners. The sound designer and Foley artist Buzz Moran accompanied me on this gustatory adventure, because we're both into food, as the saying goes, and because we never really have a chance to sit down & just chat although we're often involved in the same or overlapping projects. Also, the man looks good in a suit. Tall, thin, well-groomed..."
"...Absolutely Nothing Like Kung Pow At All, We Promise, Dept.: Although the current Alamo Drafthouse Cinema's calendar mentions their upcoming Kung Fu Masterpiece Theater in the same sentence with Steve Oedekerk's mind-suckingly godawful Kung Pow: Enter the Fist, Alamo co-owner Karrie League has sworn on a stack of dry, tasteless fortune cookies that the theatre's similarly conceived redubbing of the 1973 chopsocky epic Fearless Fighters will be far less likely to have patrons jamming knitting needles in their eyes than Oedekerk's recent travesty. Here's the deal: The Alamo, in association with Buzz Moran (of Salvage Vanguard's live-radio production of The Intergalactic Nemesis) and Golden Arm Trio's Graham Reynolds, has unearthed a print of the obscure Shaw Brothers production, deleted the soundtrack, and will be screening it with a new, live soundtrack (including foley effects, natch), accompanied by a Reynolds score..."
"...Enter Austin's Foleyvision, Buzz Moran's sound effects 'n' dialogue troupe, who have united once again with the Alamo Draft-house Downtown to render the unwatchable somewhat less so...."
"...From beginning to end, every element of Requiem for Tesla hums with electricity. Graham Reynolds and Blair Bovbjerg's organ and theremin-heavy live score is infused with energy, and Buzz Moran's hair-raising sound design mixed with breathtaking visuals (including an actual Tesla coil) promises to get – and keep – the rapt attention of everyone in the theatre..."
"...Katherine Catmull shines as Nadia's neurotic mother, and when her character's intensity vacillates, we can almost guess how much Xanax she has left in the bottle. With Buzz Moran (sound) and Steven Shirey (lights) holding hands and dancing in perfect harmony, this two-course offering has a very satisfying finish...."
"...The production design is oddly lacking in this show – "oddly" because qualified and talented designers worked on it. Buzz Moran's sound design is shoddy and incomplete..."
"...10) SOUND DESIGN FOR 'SPACESTATION1985' (Natalie George Presents) I didn't love the play, but the sound by Buzz Moran made the outer space setting come to life...."
"...It's technically gorgeous, with a multileveled set that uses projected backgrounds to suggest the depth of the world its characters inhabit. The spooky atmosphere is maintained by Buzz Moran's sound design and Graham Reynolds' score, aided by a surfeit of dry ice..."
"...Making the script's conscious sentimentality palpable are T'Cie Mancuso's costumes that look like they jumped out of a Norman Rockwell painting (Mee's other inspiration); Leilah Stewart's versatile set, which becomes everything from dining table to automobile, and displays iconic American artifacts like a bowling pin and typewriter to great visual effect; and Kathryn Eader's lighting and Buzz Moran's sound, which create a sense of place for each scene...."
"...Edward's production converge seamlessly to give life to this bleak world, with strikingly simple scenic design by Christopher McCollum – sturdy, versatile wood tables and benches that complement Susan Branch Towne's rich, detailed period costumes. Kathryn Eader's fine lighting design mirrors the play's alternating moments of chaos and stillness, and Buzz Moran's creepy sound design cleverly manipulates the audience's emotions, making us feel like we're in a well-made horror movie..."
"...The participants include bartenders Adam Bryan (Bar Congress), Houston Eaves (East Side Show Room), Josh Loving (Fino), and Jason Stevens (the Tigress); chefs Sonya Coté (East Side Show Room), Jason Donoho (Fino), Julio-Cesar Florez (La Sombra), and Eric Ting (East Side King); playwright Steve Moore (Nightswim); actor Zeb L. West (The Jungle); sound engineer Buzz Moran (The Intergalactic Nemesis); composer/musicians Graham Reynolds (Golden Arm Trio) and Ben Webster (Butcher Bear); video artists Lee Webster and Matti Sloman (Austin Video Bee); and editors Michu Benaim and Lope Gutierrez-Ruiz (Gopher Illustrated)..."
"...This year, Jason Neulander, the former Salvage Vanguard Theater artistic director who oversaw the creation of the first Nemesis in 1996 and has been shepherding its development since, collaborated with local artist Tim Doyle to produce a comics adaptation that could be integrated into the stage version. In the "live-action graphic novel," as Neulander calls it in his best Stan Lee manner, Doyle's art is projected above the three actors – improv empress Shana Merlin as plucky newshound Molly Sloan, Mical Trejo as gee-whizzing sidekick Timmy Mendez, and versatile Chris Gibson as time-traveling librarian Ben Wilcott, evil mesmerist Mysterion, and, well, everyone else – as they unfold the story dramatically, with able aural support from Foley artist extraordinaire Buzz Moran and musical wizard Graham Reynolds..."
"...But that's not all! As with the past 6½ years' worth of Dionysiums, this night's heady antics will be hosted by that same (possibly triumphant, potentially devastated) Deyo and the ever-witty Buzz "Foleyvision" Moran and will include a lecture, a screened animation presented by Lance "Fever" Myers, the keyboard stylings of maestro Graham Reynolds, and more...."
"...They regularly performed an Austin-flavored live version of Mystery Science Theatre 3000 at the Alamo Drafthouse, drawing large crowds and helpless laughter with their mockery of classic (or classically bad) movies. Now it's just Erler and Parsons – and occasional guests such as Mac Blake, David Jara, Ben Bartley, Scott Chester, Buzz Moran, Mary Jo Pehl, Martha Kelly, Zack Carlson, and Leslie (yes, that Leslie) Cochran – bringing the wiseass disrespect and skits that redeem a bad movie and make a good movie even more enjoyable...."
"...L.B. Deyo and Buzz Moran, masterminds of the Dionsysium, served as masters of ceremonies, mostly from a small sofa in a corner of the Kleberg Stage, where they sat and provided color commentary on the proceedings with much-appreciated wit..."
"...And if you think believable parody sounds somehow simple, then you just don't know how to parse your paradoxes. Add the creatively entertaining Foley sound of Buzz Moran and Hilary Thomas, the orgiastic live organ of Laura Phelan, and commercials improvised by the cast between episodes, and you've got an evening of gluttonous intergalactic delectation...."