During the embryonic development of the modern musical synthesizer, Morton Subotnick envisioned a day in which an individual could become the audience, the director, and the performer of a musical work all at once. The belief was that a device could exist that one could explore a sonic space with in real time and move from “point to point” within this space guided by feelings, emotions, or any other perturbation of the mind. With the creation of such a device (the “synthesizer”) in 1963, Subtonick’s idea became reality however alternative interpretations of its utility also emerged. With time, the “synthesizer” came to predominately be an instrument with which equal tempered, melodic music was created, recorded, and distributed among the masses. A select few have, however chosen to investigate and develop the concept closer to Subotnick’s original vision of the man-machine interaction. adamon is Damon Mar’s pursuit of this.
adamon is Damon Mar
Lawrence F**king Kansas
Miles Macquarrie went to college for audio engineering and has always had an interest in sound design. He also has a love for synthesizers and the music created by them. Influenced by new wave, minimal synth, electro, and ambient, he uses modular synths as a way to relax when he is not busy running his restaurant, Kimball House.
Helvetian Waves is a side project of Andrés Fuentes, a classical–trained pianist, composer and physicist based in Zürich, whom has been commissioned on several occasions by the Mozarteum (Salzburg) to write electroacoustic music, by the Academy of Fine Arts of Vienna to develop intelligent sound installations and, more recently, by the IRCAM (Paris) to research on new techniques of Deep Learning addressed to music. His oeuvre is quite versatile, including his characteristic nonlinear metric and atonal structures, as well as chromatic post-minimalism envelopes.
Erin April Cooper is an experimental improvisational musician based in Portland OR. She creates her pieces using a variety of synthesizers. Her pieces are inspired by her emotions and life experiences.
Adaptive Machines is a live performance based project from Portland, Oregon. Started by Scott Worley of Jatun in late 2013, as a way to eschew recording on the computer and get back into the world of modular synthesizers and recording live performances through analog mixers directly onto tape (reel to reel, 4 tracks, 8 tracks) with no overdubs or post production involved. On the cusp of releasing the 8th installment in his current VOLUMETRIC series, Scott shares the opening songs off of his upcoming releases, VOL X and VOL XI. He shares some words about Adaptive Machines and the VOL series:
“It takes me anywhere from a day to two weeks to finish a patch on the modular. At the moment of finishing the patch it’s pretty typical of me to hang out for many hours in a meditative trance, listening to the ebb & flow of interactive modules at play. It’s really nice to step back and admire all the work put into what essentially is a temporary piece of art. At this point I’ll spend the next couple of days learning how to perform it before recording it live to tape for documentation. These series of tapes are called VOL, short for VOLUMETRIC. VOL I – XX were recorded to a variety of analog tape formats over the course of January 2014 to December 2015 and are currently being released exclusively through Bandcamp.”
Adaptive Machines can be found on the web at:
Facebook – https://www.facebook.com/adaptivemachines
Bandcamp – https://adaptivemachines.bandcamp.com/
Website – http://www.jatunmusic.com/
Huron is the project of NYC / Pennsylvania-based musician Johnny Lancia. He’s been releasing slowly drifting sounds for over 10 years now, using modular synthesizers, obsolete samplers and tape loops to craft his blissed out drones. This piece was recorded especially for Data Cult Audio and was composed using the Tascam 424mkiii cassette four track as an instrument loaded with tape loops painstakingly created by hand. Recordings of analog synthesizers are warped and twisted with each pass of audio. Casio SK-1 was also present.
The Polymer Cities is the experimental project of Allan Murphy’s many musical/artistic activities which also include Own Brand (formerly Midwich Youth Club)/Pages from Ceefax/Kehrschleife.
The Polymer Cities is a Psycho-Geographical exploration/representation of potential future spaces and their emotional stimuli.
The aim of this piece is to reproduce an impression of the phenomena of ‘Data Rot’ the breakdown of digital files which sometimes results in the odd merging of files on a hard disc. creating new hybrids of information – a sort of cut-up writing for the digital realm in which a potential future might leak through.
Allan has used mainly unfinished Polymer Cities pieces as the core sounds and juxtaposed/manipulated them with various experimental processes alongside freshly created musical material to represent what an album of his would sound like in the future after data rot.
Errant Space is a project of composer/recordist Craig Chin. Its primary goal is the manipulation of time and space through sound. Performances are site-specific, spontaneous compositions influenced by both the physical characteristics of the space they are performed in and the occupants of that space. Craig also produces the Errant Space Podcast which has featured solo performances as well as collaborations with other sonic explorers. It has been posted monthly since 2015. Listen at: www.errant.space
Samuel Cape has been studying and writing music for 25 years, but stopped playing in bands in 2005. Sam played guitar in Atlanta based metal bands Dawn of Orion and also Signs of Dying for which he was a founding member, guitarist, and drum machine programmer. Shortly after graduating from Georgia Tech with a Master’s Degree in Electrical and Computer Engineering, he began focusing on developing technology used for anti-counterfeiting of currency. His career has brought him deep into a unique technological niche that involves animation, algorithm design, programming, and mathematics. Several years ago, Sam started recording music again and began building a home studio.
The piece here, titled “Rachaph”, strives to illustrate creation as an interference pattern generated by echoes of the past, visions of the future, and the tangibility of the present moment.
Riffs from a 2003 Signs of Dying recording were loaded into the Eurorack Synth module – “Equation Composer” and manipulated further with custom firmware that Sam created. Additional textures come from several other Eurorack patches using Moog, Mutable Instruments, Befaco, 4ms and TipTop modules. Recorded and manipulated further in Propellerhead Reason software.
Sam is currently looking for opportunities in Film Scoring and Video Game Sound.
Instagram, Twitter: @CapedSam
Collin Russell is a Southern-California based composer and the Director of Technical Support at Qu-Bit Electronix.
Heart Eyes was recorded live on an Eurorack modular synthesizer for Data Cult Audio 0026.
Heart eyes have been gone for some time, but are here now.
They see what they like, but don’t always like what they see.
Void-gazers, they are, glancing from here to there.
They finally stop to stare.
Record date: September 19, 2017
Airdate: October 7, 2017