Launched a suite of new music early this morning, comprised largely of recordings made while preparing for a noise show a few weeks back.
This one deviates from other recent audio-posts significantly in that this music was all heavily rearranged through a process of chopping up & transforming a further generation of self-sustaining environments, (often) beyond recognition. The common thread here is a flavor of bitonality realized via dual quantizers offset by a static interval, each trained on a 4-voice “Arabesque” – the descriptor “Kafkaesque” fits beautifully given the lean into the darker corners of harmony, bordering on the grotesque.
I’m rather fond of the first two pieces as a standalone pair, in which the input-stage of a spring first acts as a highly resonant bandpass filter before providing the unmistakeable metallic sheen found across so many of my favorite Pinakotheca & Vanity LPs (what a sound!) I’ve opted to also include a re-ordered transcription of the concert itself, along with a couple of further proof-of-concept recordings to seal the deal. I may be biased, but I genuinely feel that it’s some of my best work recently in terms of channeling standalone, fully-formed aesthetics by continually reconfiguring the Hybrid Digital-Analogue Modular Synthesizer I’ve committed to over these past 6 months; certainly this the combination of elements I’ve been the most excited about recently & everything down to the cover-art fits a narrative arc that’s there for you to decode.
Play this loud, over big speakers… or at the very least through decent headphones for a fully sensory experience while out roaming about: the production is deeply sub-heavy & everything here feels electric & alive (if… submerged).