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Pat Irwin (born May 17, 1955) is an American composer and musician who was a founding member of two bands that grew out of New York City's no wave scene in the late 1970s, the Raybeats and 8-Eyed Spy. He joined the B-52s from 1989 through 2008. He currently performs and records with SUSS who have released several records on the indie label Northern Spy.

He composed the score for the Showtime series, Dexter: New Blood. Other television scores include HBO's Bored to Death, Showtime's Nurse Jackie, and The Good Cop on Netflix. He has composed scores for many cartoons including Rocko's Modern Life, Pepper Ann, A Little Curious, and Class of 3000. Independent film credits include My New Gun, But I'm A Cheerleader, and Bam Bam and Celeste.

Biography

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Pat Irwin graduated from Grinnell College in 1977.[1] He received a Thomas J. Watson Fellowship for international study and moved to Paris after graduation. In Paris he attended composition workshops with John Cage. Moving to New York City in 1979 he was a founding member of the no wave band 8-Eyed Spy which included Lydia Lunch and Jim Sclavunos, both members of Teenage Jesus and the Jerks and George Scott III from the Contortions. With Scott, he later formed the Raybeats with other former members of the Contortions: Jody Harris and Don Christensen.

8-Eyed Spy dissolved in 1980 after the death of George Scott. The band released Live on ROIR as a cassette only issue and a self-titled record on Fetish that was completed without Scott. Both Irwin and Scott contributed to Lydia Lunch's solo recording on ZE, Queen Of Siam. Scott was credited as Jack Ruby, a reference to his band before joining The Contortions.

The Raybeats continued to perform with Danny Amis on bass. They released two full-length albums, Guitar Beat, produced by Martin Rushent and recorded in 1981 at Rushent's newly built studio outside London. The Raybeats second LP, It's Only A Movie was recorded in New York City in 1983 and was produced by the band with Joe Blaney and mixed at Electric Lady Studios. In 2013 The Raybeats released The Lost Philip Glass Sessions on Orange Mountain Music, a collection of recordings that were started with Philip Glass in 1982 but were never completed.

Robert Palmer, writing in The New York Times, described Irwin as a "mercurial presence on the New York rock scene of the early 80's. The bands he helped found, the Raybeats and 8-Eyed Spy resembled each other only in that they had an aversion to the predictable and the ordinary." [2] He began touring and recording with new wave rock band the B-52's in 1989, playing keyboards and guitar.[3] His relationship with the band began when they borrowed Irwin's amplifier for their first gig in New York City in 1978.[3][4] The band toured steadily through the 1990s and had two Top-Ten hits with "Love Shack" and "Roam". Recently, he has been performing and recording with the ambient-country group, SUSS.

Irwin composed the score for the Showtime series, Dexter: New Blood. He also composed the scores for HBO’s Bored To Death and the Showtime series, Nurse Jackie. He composed the scores for many cartoons including Rocko’s Modern Life, Pepper Ann, A Little Curious, and the Emmy Award winning Class of 3000 (with André 3000 from the group, Outkast.) His contributions to the SpongeBob SquarePants soundtracks were given ASCAP Film and Television Music Awards in 2011, 2012, and 2013. The Cartoon Music Book referred to Irwin’s music as "astonishing musical cues that hold up with the best of Raymond Scott."

Irwin has performed in various venues throughout the world including CBGB, Max's Kansas City, Mudd Club, The Kitchen, Dance Theater Workshop, The Knitting Factory, Radio City Music Hall, Carnegie Hall and Madison Square Garden.

Irwin’s first feature film score was for My New Gun which was shown at the Cannes Film Festival in 1992. He has since composed the scores for many independent films including But I’m A Cheerleader, and Bam Bam and Celeste as well as several documentaries including Fall To Grace written and directed by Alexandra Pelosi for HBO Documentaries.

In 2012 Irwin received an honorary doctorate from Grinnell College.[5] He currently teaches a seminar in film and television music at NYU's Tisch School of the Arts Graduate Musical Theatre Writing Program, as well a seminar in Scoring for Film and Television at the Feirstein Graduate School of Cinema at Brooklyn College.

Discography

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Filmography (composer)

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References

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Pat Irwin

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Pat Irwin (born May 17, 1955) is an American composer, musician, and educator best known for his innovative scores for television and film, as well as his foundational role in New York City's No Wave music scene of the late 1970s and 1980s. Irwin grew up in , , where he began his musical journey playing the in second grade before gravitating toward the guitar as a teenager. He earned a B.A. in from in 1977, during which he participated in the Grinnell-in-London program and received a Fellowship that allowed him to spend a year in researching expatriate jazz musicians and performing alongside composer . Inspired by the vibrant scene he encountered in , Irwin relocated to in the late 1970s, immersing himself in the downtown music world at venues like and . He co-founded the instrumental surf-rock band The Raybeats, which released two albums and toured extensively in the early 1980s, and the outfit 8 Eyed Spy alongside vocalist . From 1989 to 2007, he served as a longtime touring member of The B-52's, contributing to the band's global success with hits such as "Love Shack" and "Roam", including high-profile tours opening for acts like and . In the 1990s, Irwin shifted focus to composition, scoring music for choreographers, theater, and dance before establishing himself in television and film. His television credits include the Dexter franchise (Dexter: New Blood, Dexter: Original Sin, Dexter: Resurrection), Nurse Jackie (Showtime), Bored to Death (HBO), SpongeBob SquarePants, Rocko's Modern Life, Class of 3000 (Emmy-winning), Pepper Ann (Disney), and Homicide: Life on the Street. For these works, he received multiple ASCAP Film & Television Awards, including three consecutive wins for SpongeBob SquarePants from 2011 to 2013. In film, he composed for But I'm a Cheerleader, My New Gun, and Bam Bam and Celeste, among others. Irwin has also created concert music and collaborated with artists like Stephen Petronio and Pooh Kaye; he holds grants from organizations such as the New York Foundation for the Arts and Meet the Composer. Today, he teaches composition at New York University's Tisch School of the Arts and Brooklyn College, performs with the ambient ensemble SUSS (known for albums like High Line and Promise), and continues to score for film and television. In 2012, Grinnell College honored him with a Doctor of Humane Letters for his contributions to American music.

Early life and education

Childhood and early influences

Pat Irwin was born on May 17, 1955, in , . His family background involved frequent relocations across the due to his father's career in the mining industry, with moves taking them from to , , , , and . These shifts shaped a nomadic childhood, during which Irwin finished high school in and developed an early adaptability that later influenced his musical explorations. Irwin's initial exposure to music came through his first record, an instrumental compilation album on , which sparked a fascination with non-vocal sounds. In second grade, while living in , he began playing the , later gravitating toward the guitar—which he initially kept hidden at a friend's house due to parental disapproval of rock 'n' roll—and the during his adolescent years in the . This period marked the growth of his interest in experimental and instrumental music, fueled by the era's rock influences and his parents' eventual tolerance of garage band rehearsals, laying the groundwork for his multi-instrumental pursuits. As a teenager, Irwin's passion for music intensified through experimentation, including winning a high school battle of the bands with a Crosby, Stills, and Nash-inspired group, before transitioning to formal musical studies.

Academic background

Pat Irwin earned a B.A. in from in 1977, where his coursework and extracurricular involvement laid the groundwork for his interdisciplinary approach to music. During his time at Grinnell, Irwin engaged deeply with musical and composition, participating in ensembles that exposed him to diverse genres including classical and , and took part in the Grinnell-in-London program. Following graduation, Irwin received the Fellowship, a prestigious award supporting independent international study for recent graduates. This fellowship enabled him to relocate to for a year, where he conducted research on expatriate musicians, attended composition workshops led by avant-garde pioneer , and performed alongside him. Under Cage's mentorship, Irwin explored experimental techniques such as indeterminate music and non-traditional , which profoundly influenced his compositional style. Irwin's postgraduate travels, facilitated by the fellowship, further immersed him in avant-garde and experimental composition practices across Europe. These experiences reinforced early academic influences from Grinnell, fostering Irwin's signature method of blending classical structures with jazz improvisation and rock energy to create innovative, genre-defying works. In recognition of his enduring ties to the institution, Grinnell College awarded him an honorary Doctorate of Humane Letters in 2012.

Performing career

No Wave scene and early bands

Pat Irwin immersed himself in New York City's vibrant No Wave scene during the late 1970s, a movement characterized by its raw, experimental fusion of punk, jazz, and avant-garde elements that rejected conventional rock structures. In 1979, Irwin co-founded the band 8 Eyed Spy with vocalist Lydia Lunch—fresh from her stint in Teenage Jesus and the Jerks—and bassist George Scott III, alongside guitarist Michael Paumgardhen and drummer Jim Sclavunos; Irwin contributed saxophone and guitar to the group's lineup. Described as a punk-jazz fusion outfit, 8 Eyed Spy captured the No Wave ethos through abrasive, improvisational energy, with Lunch's spoken-word delivery over skronking horns and driving rhythms that echoed the scene's subversive spirit. The band debuted in September 1979 at Tier 3 in New York City and quickly became a fixture in the downtown underground, performing at key No Wave venues amid the era's chaotic creative ferment. 8 Eyed Spy recorded their self-titled studio album in October 1980 at Blank Tapes Studios, which was released in 1981 on Fetish Records, featuring tracks like "Diddy Wah Diddy" and "Run Through the Jungle" that blended mutilated blues with no wave noise. However, internal tensions led to the band's dissolution shortly after, with Lunch abruptly quitting in the fall of 1980 to pursue solo endeavors, marking the end of this short-lived but influential project. Transitioning seamlessly within the No Wave ecosystem, Irwin co-founded The Raybeats in 1980 with drummer Don Christensen, guitarist Jody Harris, and bassist George Scott III, shifting toward an instrumental surf-rock sound infused with experimental edge. Drawing from twangy guitar riffs, lounge influences, and the improvisational freedom of , the band eschewed vocals to emphasize tight, propulsive grooves reminiscent of classic surf but filtered through downtown New York's avant-garde lens. The Raybeats honed their style through rigorous rehearsals and became regulars at iconic spots like , where their debut performance helped solidify their presence in the circuit. The group's debut album, Guitar Beat, arrived in 1981 on PVC Records, produced by and capturing their high-energy twang on tracks like "Tight Turn." They followed with in 1982, expanding their sonic palette with more atmospheric textures, and in 1983, which included the collaborative track "Soul Beat/Intoxica" blending soulful rhythms and frenetic surf. Despite lineup changes after Scott's departure in 1982—replaced by rotating bassists like David Hofstra—The Raybeats toured extensively, opening for acts like the B-52's and maintaining a until their disbanding in 1984, as members pursued divergent paths. These early No Wave experiences in 8 Eyed Spy and The Raybeats informed Irwin's later mainstream ventures, bridging underground experimentation with broader pop accessibility. Prior to 8 Eyed Spy's formation, Irwin served as a on Lunch's debut solo album Queen of Siam, released in February 1980 on , providing , , arrangements, and additional instrumentation across tracks like "Mechanical Flattery" and the co-written "Atomic Bongos." His multifaceted contributions helped shape the album's eclectic mix of , torch songs, and lounge jazz, distinguishing it from Lunch's earlier abrasive work.

The B-52's

Pat Irwin joined The B-52's in 1989 as a , primarily handling keyboards and , after the band regrouped following the 1985 death of founding Ricky Wilson from AIDS-related complications. His addition helped revitalize the group's sound during their comeback period, infusing their new wave style with polished arrangements while drawing on his earlier improvisation skills from the scene. Irwin contributed to key albums during his tenure, including Cosmic Thing (1989), on which he played as the band achieved commercial breakthrough; the live album Funland (1990), capturing their energetic stage presence; and Good Stuff (1992), where he provided keyboards amid the group's exploration of dance-rock elements. His instrumental work supported the band's signature quirky, upbeat aesthetic, particularly in live adaptations of hit singles like "Love Shack" and "Roam" from Cosmic Thing, which propelled the album to multi-platinum status and topped charts worldwide. These tracks became staples of the band's repertoire, with Irwin's arrangements enhancing their high-energy performances that blended rock, pop, and surf influences. Over nearly two decades, from 1989 to 2007, Irwin toured globally with The B-52's, supporting album releases and headlining major venues such as in and the Orpheum Theatre in during the Cosmic Tour, as well as performing at international festivals and arena shows that solidified their status as a live act. The extensive touring schedule, encompassing hundreds of dates across , , and beyond, highlighted Irwin's role in maintaining the band's dynamic stage chemistry and contributing to their enduring popularity. In 2007, Irwin departed The B-52's to prioritize his composing work for television and film, marking the end of his full-time involvement after nearly 20 years of performances and recordings.

SUSS and later projects

In 2016, Pat Irwin co-founded the New York-based ambient instrumental group SUSS as a quintet alongside Bob Holmes on guitar and loops, Jonathan Gregg on pedal steel guitar, Gary Leib, and William Garrett. The band, which has since streamlined to a core trio of Irwin, Holmes, and Gregg, specializes in "ambient country" or post-rock soundscapes, blending pedal steel, electric guitar, keyboards, ebow, harmonium, and looping techniques to evoke vast, meditative landscapes. This formation marked a pivot for Irwin from the high-energy rock performances of his B-52's era to more introspective, atmospheric collaborations. SUSS's debut album, Ghost Box (2018), introduced their signature droning, Americana-infused instrumentals on Northern Spy Records, featuring tracks like "Wichita" that highlight Irwin's subtle keyboard and guitar contributions amid expansive loops. Subsequent releases built on this foundation: (2019) explored nocturnal urban-rural tensions with pieces evoking New York City's elevated parks; Promise (2021) incorporated harmonica and synths for dreamlike drifts, as in the title track; and the double album (2022) compiled EPs like Night Suite and Heat Haze, capturing feverish, shimmering moods through Irwin's layered textures. By 2024, their fifth full-length Birds & Beasts shifted toward populated, organic terrains with tracks like "Flight" and "Restless," while early 2025 saw collaborative expansions, including the Nanocluster, Vol. 3 album with Immersion and singles such as "" and "State of Motion." The group's live performances emphasize , transforming their studio recordings into fluid soundscapes that draw audiences into environmental reveries. Notable appearances include a full-session at KEXP in (2024), where they rendered "Winter Was Hard" with extended pedal steel swells; residencies at Brooklyn's Sultan Room, showcasing Night Suite in intimate settings; and the Big Ears Festival in Knoxville (2025), featuring guest collaborators like William Tyler for the Across the Horizon project. These shows, often at experimental venues like Culture Lab LIC in , underscore SUSS's commitment to real-time atmospheric evolution. Beyond SUSS, Irwin has pursued other experimental ensembles, notably the PI Power Trio, a rock-oriented trio with Sasha Dobson on drums and vocals and Daria Grace on bass and vocals, delivering jazz-inflected covers and originals in New York clubs like the Parkside Lounge. Formed in the late , the trio channels Irwin's guitar prowess into shadowy surf and twangy explorations, as heard in live renditions of tracks like "The Dreamy Vocal." SUSS's music reflects environmental and minimalist themes, portraying natural expanses through sparse, looping arrangements that echo the vastness of American landscapes—inspired by sources like Brian Eno's Apollo: Atmospheres and Soundtracks and Ry Cooder's score—while subtly nodding to Irwin's origins in its raw, deconstructed edges. This evolution highlights a tension between urban grit and serene , positioning SUSS as a bridge between Irwin's punk past and contemporary ambient innovation.

Composing career

Television scoring

Pat Irwin began his television scoring career in the realm of , most notably with (1993–1996), where he crafted quirky, cartoonish using a live band to achieve a sense of inspired by classic orchestral cartoons like . His approach emphasized manic energy and unpredictable rhythms, drawing on collaborations with session musicians such as Art Baron from the Orchestra to create a vibrant, live-recorded sound that captured the show's chaotic humor. Irwin continued in animation with Pepper Ann (1997–2001), employing whimsical orchestration performed by a live ensemble in Los Angeles to evoke the series' spirited, coming-of-age adventures, marking a shift toward more character-focused themes within a Disney framework. He also scored Class of 3000 (2006–2008), an Emmy-winning Cartoon Network series created by André 3000, blending hip-hop, funk, and orchestral elements to support its musical education themes. For SpongeBob SquarePants (ongoing since 1999), Irwin contributed additional music tracks, earning three consecutive ASCAP Film & Television Music Awards from 2011 to 2013 for his innovative, bubbly underscore that enhanced the show's whimsical underwater world. For A Little Curious (1999–2000), he contributed educational tones through reorchestrated instrumentals and songs, tailoring the music to foster curiosity in young audiences while maintaining a gentle, exploratory palette. These early works highlighted Irwin's preference for live instrumentation, a technique he described as a "lost art" in modern scoring, allowing for spontaneous performances that infused the scores with organic vitality. Transitioning to live-action drama, Irwin scored Nurse Jackie (2009–2015), blending jazz influences with electronic elements to underscore the show's tense medical and personal conflicts, using subtle motifs to heighten emotional stakes. Similarly, for Bored to Death (2009–2011), he integrated noir-inspired and ambient electronics to mirror the series' quirky narrative, employing live band recordings to add layers of irony and . In The Good Cop (2018), Irwin adopted a piano-driven quartet sound—referencing and —with finger snaps, , and electronic enhancements via ProTools, capturing the father-son dynamic without sentimentality through quick, authentic takes. Irwin's recent contributions to the Dexter franchise further exemplify his evolution into suspenseful drama, scoring Dexter: New Blood (2021) with icy synthesizers and faint echoes of Daniel Licht's original themes to evoke a stark, wintry atmosphere distinct from the Miami heat of the parent series. For Dexter: Original Sin (2024–present), he developed an atmospheric sound balancing 1990s-era cues with haunting motifs, incorporating ambient and influences to delve into the character's origins. His work on Dexter: Resurrection (2025) continues this trajectory, blending hip-hop, club , and synth-driven to reflect New York's urban pulse while honoring the franchise's dark essence through adaptive, narrative-focused compositions. Over his career, Irwin's television style has evolved from the upbeat, live-band whimsy of to tense, character-driven , increasingly incorporating electronic textures alongside live instrumentation to enhance episodic pacing and thematic depth. This progression reflects his diverse influences—from No Wave roots to ambient projects—allowing him to conduct emotions through versatile soundscapes that prioritize storytelling over predictability.

Film and documentary scoring

Pat Irwin's debut feature film score was for the 1992 independent comedy My New Gun, directed by Stacy Cochran, which premiered at the . The score features an off-kilter blend of country and western influences with stylistic nods to Nino Rota's film music, creating a light and eclectic backdrop that complements the film's quirky narrative about a suburban inheriting a . Recorded live in the studio with a group of session musicians, it marked Irwin's entry into feature scoring, emphasizing playful, narrative-driven cues tailored to the indie comedy's tone. In subsequent independent films, Irwin continued to craft ironic and upbeat soundtracks that heightened the satirical elements of character-driven stories. For (1999), a critiquing , his score integrates whimsical, pop-inflected motifs to underscore the film's absurd humor and . Similarly, in Bam Bam and Celeste (2005), written by and starring , Irwin's music employs lively, rhythmic elements to mirror the road-trip antics and personal revelations of its protagonists, enhancing the film's blend of and introspection. These projects highlight his ability to use upbeat textures for emotional layering in low-budget productions, often adapting to directors' revisions to refine the narrative fit. Irwin's documentary scoring incorporates minimalist and reflective cues to support introspective storytelling. In Fall to Grace (2014), an HBO film directed by Alexandra Pelosi examining former New Jersey Governor Jim McGreevey's scandal and redemption, Irwin's score uses subdued, ambient lines to evoke vulnerability and contemplation, drawing on subtle electronic textures for depth. Other works, such as The Accidental Advocate (2008) and Cherry Cottage: The Story of an American House (2012), employ similar restrained approaches, with sparse instrumentation that amplifies personal testimonies and historical reflections without overwhelming the visuals. His technique often blends live orchestral elements—like strings or winds—with electronics, such as analog synthesizers, to achieve emotional resonance in character studies, particularly in resource-limited settings. Working on independent films and documentaries presented challenges, including tight budgets that required Irwin to multitask as a , self-recording parts on guitar, keyboards, and found objects to simulate fuller ensembles. This DIY approach, informed by his no-wave roots, allowed flexibility in evoking emotional depth while adhering to story-specific , though it demanded rapid iterations based on director feedback. Irwin has noted that such constraints foster innovative, narrative-focused scoring, as seen in his emphasis on ambient cues for tension in projects akin to his techniques in serialized formats.

Concert, theater, and dance music

Pat Irwin's concert music draws heavily from his studies with in during the late 1970s, where he participated in workshops involving the and unconventional instrumentation, such as amplifying a pine cone with contact microphones, fostering an experimental ethos that emphasized found sounds and open structures. This influence manifested in his early original compositions, blending no wave dissonance with classical chamber elements and American vernacular traditions like shape-note hymns. In 1987, Irwin presented his debut concert of such pieces at New York City's Dance Theater Workshop, featuring an ensemble of saxophones, clarinets, , guitar, and electronic percussion to create fresh sonic textures. Standout works included the dreamlike "Sixth Heaven," the blues-inflected clarinet-piano duet "," the woodwind quartet "" evoking hymn traditions, and the more ragged "," which integrated surf riffs, funk, and noise for dynamic, improvisatory energy. Irwin's theater scores emphasize atmospheric for productions, often incorporating layered electronics and acoustic instruments to heighten dramatic tension. In 1982, he composed a vivid, multilayered score for Karole Armitage's "Bridgedance," which complemented the work's stylish set with rhythmic and textural depth. His collaborations with Theodora Skipitares further explored experimental narrative soundscapes, adapting techniques from his Cage-influenced background to support immersive, site-responsive performances in New York venues. For dance, Irwin has created hybrid electronic-acoustic scores commissioned by contemporary choreographers, prioritizing interactive elements that respond to movement. He worked with Stephen Petronio on pieces that fused minimalist pulses with improvisational flourishes, and with Pooh Kaye on works emphasizing spatial and textural interplay in New York spaces. These commissions highlight his shift toward live, ephemeral compositions that borrow from broader scoring practices while foregrounding performer agency. In the 2010s and 2020s, Irwin's concert output evolved through his role in the ambient group SUSS, where he contributes electric guitars, eBow, harmonium, keyboards, and loops to create meditative, landscape-inspired soundscapes performed in live settings. Formed in 2016, SUSS's works like those on the album High Line (2019) evoke urban-nature hybrids, drawing from New York's elevated park for site-responsive ambient concerts that blend Americana minimalism with improvisational textures. This phase reflects a continued Cagean openness to environmental sounds, prioritizing eco-evoking immersion over structured notation in performances across New York and beyond.

Discography

Band albums and contributions

Pat Irwin's early contributions to the scene included his work with 8-Eyed Spy, a short-lived band featuring on vocals, where he played multiple instruments on their self-titled debut album released in 1980 on 12XU Records. As a founding member, Irwin handled , guitar, bass, and piano across the album's raw, experimental tracks, showcasing his versatile, abrasive playing style amid the group's confrontational sound. The album, recorded in , captured the band's intense live energy with minimal production, reflecting Irwin's immersion in the downtown . Irwin also made a notable on Lydia Lunch's solo debut, Queen of Siam (1980, ), providing , , and additional instrumentation that added a layer of jazzy tension to the tracks. His contributions, including horn arrangements on songs like "Mechanical Flattery," helped blend Lunch's spoken-word delivery with orchestral elements from the Billy Ver Planck Orchestra. As a founding guitarist in The Raybeats, Irwin contributed to the band's instrumental surf-rock influenced albums, starting with Guitar Beat (1981, ), where his twangy riffs defined their neo-twang sound. He continued on Rope of Sand (1982, Animal Records), playing on tracks that incorporated lounge and elements, and It's Only a Movie (1983, PVC Records), which featured more polished production and covers like "Tic Toc." In 2013, Orange Mountain Music released previously unreleased sessions as The Lost Philip Glass Sessions, highlighting Irwin's work alongside composer 's contributions during the band's early rehearsals. Irwin joined The B-52's in 1989 as a touring and recording member, providing keyboards and guitar on their breakthrough album (1989, ), which propelled the band to mainstream success with hits like "Love Shack." His keyboard parts added rhythmic drive to tracks such as "," supporting the core band's quirky new wave style during extensive tours. On (1992, ), Irwin played keyboards across the album, including organ on "Hot Pants Explosion," contributing to the group's funky, dance-oriented evolution before his departure in 2007. In the ambient country group SUSS, formed in 2016, Irwin plays synths, keyboards, and occasional pedal steel, shaping their meditative sound on albums like Ghost Box (2018, Northern Spy Records) and High Line (2019, Northern Spy Records), blending pedal steel twang with looping electronics. He contributed synths and production to Promise (2020, Northern Spy Records), emphasizing sparse, evocative textures on tracks like "Watchtower." Irwin's pedal steel and synth roles continued on the self-titled SUSS (2022, Northern Spy Records), adding ethereal swells to the instrumental pieces, and the double album Birds & Beasts (2024, Northern Spy Records), where he provided additional pedal steel on "Beasts" amid the trio's vast, evolutionary soundscapes. These recordings trace Irwin's progression from No Wave's raw edges to SUSS's serene ambient landscapes.

Solo and collaborative releases

Pat Irwin's collaborative work outside his primary band affiliations includes notable contributions to experimental and minimalist projects. In 1982, Irwin participated in recording sessions with composer as part of The Raybeats, resulting in the album The Lost Philip Glass Sessions, which blended no-wave surf-rock elements with Glass's repetitive structures; the material was initially unreleased but issued on CD in 2013 via Orange Mountain Music and on vinyl for the first time in via Ramp Local Records, featuring by Irwin himself. A key collaborative release came in 2019 with trombonist J. Walter Hawkes, Irwin's neighbor and fellow composer, on the self-produced album Wide Open Sky. Recorded across their studios, the ten-track effort merges Irwin's guitar work with Hawkes's in an ambient free-jazz style, evoking open landscapes through melodic, unhurried compositions like the title track and "February," which highlight Irwin's influences and improvisational roots. Irwin has also served as a for other artists' recordings, emphasizing his multi-instrumental expertise. He produced the 1986 debut solo Strange Language by Cowlitz singer (formerly of ), incorporating and new wave elements with Irwin contributing keyboards and arrangements to tracks like the title song. Several of Irwin's television scores have been compiled into standalone , showcasing his versatile compositional approach. The 2023 release Rocko's Modern Life (Original Music from the Series), marking the show's 30th anniversary, collects suites of instrumental cues from Irwin's work on the series' first two seasons, including quirky, cartoonish pieces such as "Jet Scream" and "Frog's Best Friend," performed with synthesizers and live instrumentation to capture the show's absurd humor. Irwin's score for the Showtime series Dexter: New Blood was released as an original series score in 2022 by Lakeshore Records, featuring tense, atmospheric tracks that build on the franchise's thriller motifs with electronic pulses and orchestral swells. As of late 2025, no dedicated have been issued for Irwin's scores to Dexter: Original Sin (2024) or Dexter: Resurrection (2025), though his contributions continue the series' signature dark, pulsating . Irwin's recent endeavors include the PI , a rock-oriented with /vocalist Sasha Dobson and bassist/vocalist Daria Grace, focusing on live performances of covers and originals in a raw, guitar-driven style, though no studio recordings have been released to date.

References

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  8. https://archive.thekitchen.org/wp-content/uploads/2011/10/Pamphlet_EccentricMotions-TangledGraphics_PoohKaye_1987.pdf
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  40. https://newyorkmusicdaily.wordpress.com/2020/03/08/pipower/
  41. https://patirwinmusic.com/projects
  42. https://pitchfork.com/reviews/albums/suss-suss/
  43. https://bleedingcool.com/tv/rockos-modern-life-pepper-ann-composer-reflects-on-shows-legacies/
  44. https://www.spoilertv.com/2018/10/the-good-cop-interview-with-composer.html
  45. https://movieweb.com/pat-irwin-interview-dexter-new-blood/
  46. https://www.dexterdaily.com/2025/05/pat-irwin-interview-dexter.html
  47. https://www.rottentomatoes.com/celebrity/pat_irwin
  48. https://www.leahroseman.com/blog/pat-irwin-transcript
  49. https://www.nytimes.com/1987/04/23/arts/music-pat-irwin-pieces.html
  50. https://www.nytimes.com/1982/04/11/arts/the-eginton-look.html
  51. https://tisch.nyu.edu/grad-musical-theatre-writing/faculty/pat-irwin.html
  52. https://www.sussband.com/
  53. https://www.discogs.com/artist/273196-Pat-Irwin
  54. https://www.discogs.com/release/5256457-The-Raybeats-The-Lost-Philip-Glass-Sessions
  55. https://www.barnesandnoble.com/w/cosmic-thing-the-b-52s/34871677
  56. https://www.discogs.com/release/17715571-Suss-Promise
  57. https://www.thevinyldistrict.com/storefront/graded-on-a-curve-suss-birds-beasts/
  58. https://www.discogs.com/release/19119613-The-Raybeats-The-Lost-Philip-Glass-Sessions
  59. https://patirwinjwalterhawkes.bandcamp.com/album/wide-open-sky
  60. https://www.allaboutjazz.com/wide-open-sky-pat-irwin-and-j-walter-hawkes-self-produced
  61. https://music.apple.com/us/album/rockos-modern-life-original-music-from-the-series/1706451427
  62. https://patirwinmusic.com/news
  63. https://www.dexterdaily.com/2025/03/dexter-resurrection-score-pat-irwin.html
  64. https://www.discogs.com/artist/7530939-PI-Power-Trio
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