Lindred creates hyper-emotional music. Heavily processed textures meet saturnine melodies and elastic vocals. She exists between Texas and Berlin and is inspired by a magical synth pom named Ami.
The sounds featured here are largely built around voice and were performed on modular synthesizer, followed by additional digital processing. It’s glistening synth music for fluorescent goths.
Kimchi Princess lives in San Francisco and composes musical sounds with modular synthesizers. After falling in love with late nineties rave music, Kimchi has been exploring the world of sound synthesis ever since. Kimchi has no formal musical training, doesn’t play any other instruments, and had left the world of music production after burning out on software (and the inherent trap of endless editing) many years ago. But still Kimchi listened, feverishly, voraciously, to the wide world of sound. A few years back Kimchi happened upon youtube videos of these strange devices and have thus entered the world of modular.
About the track: Tech Duiin is a live piece recorded in one take using a eurorack modular synthesizer and pedal effects. No post processing or editing of any kind involved.
Links to Kimchi Princess:
Mike Dobler abandoned the computer music in 2006 in favor of live tabletop electronics, recently focusing on modular synthesizer. He maintains an audio journal of live recordings onto 90-minute tape cassettes, currently 160 tapes deep.
Mike, has performed live with modular synthesizer, including sets for Modular on the Spot, Moogfest, and Dublab. His style is a chaotic holy mess and he does not do sound healing.
Live Sets: soundcloud.com/mikedobler
Buy This: www.fattgrabbers.com/product/fg022-mike-dobler/
About the track:
Recorded 2017-6-24 exclusively for Data Cult Audio
Extended alternate version of the Hondasyn patch, featured on album MASTERPSYN
Items used: phonogene sheep peaks piston honda dirt
Eusebie, aka SunFalls is a PDX based electronic musician.
Composing, performing, writing and collaborating up and down the west coast since 2001. From noise cello improv for butoh theatre to experimental ableton sets and merging into eurorack synthesis in 2013. He has been a recurring solo and collaborative performer at Volt Divers, the Sonic Lodge performance series, Modular on the Spot(pdx), and most recently Binary Society, with a stacked lineup featuring some of the most talented modular synthesists across the country for opening day of the 10th Annual SubZERO Festival in the SoFA District of Downtown San Jose.
“SunFalls will guide you toward an alien realm of metallic sound structures that fracture into a world of kaleidoscopic colors.
Let its electric jolts prod the listener’s cerebral cortex.
Embrace this paradox, shed the blankets of easy comfort, and find your own warmth in SunFalls icy space-scape.” -Robert Ham of Experimental Portland.
This episode of Data Cult Audio is comprised of tracks form SunFalls latest release. Hard copies are available for sale here:
Find out more about SunFalls here:
Works at & Sponsored by Control Voltage
Campfire’s Edge is the electronic music project of Hudson Valley, NY artist Nathan M. Yeager.
Nathan’s lifelong devotion to music is defined by his skills as a unique multi-instrumentalist; playing modular synthesizer, keyboard, guitar, homemade electronics, and whatever comes next in the evolution of music. He sees his current work as scores to short films yet to be realized.
The music featured here is the result of 2 improvisational sessions layered on top of each other; and was created exclusively for the Data Cult Podcast. This piece features Eurorack Modular Synthesizer, Roland Juno 106, Moog Prodigy, Nord Lead 2x and Granular processing.
Campfire’s Edge’s debut EP “The Last Lighthouse” will be released August, 2017 on BlueHill. More information can be found at the following links:
Kurt Kurasaki is an electronic music composer based in Northern California. While his preferred instruments are the vintage Buchla Music Easel and Buchla 200/200e system, he is versed in wide array of synthesizers and electronic composition techniques. Kurt’s professional associations include work with notable music companies such as Dave Smith Instruments, Rossum Electro-Music, and Propellerhead Software. Recently he has focused his efforts into producing and recording experimental works that incorporate modular synthesizers and prepared tape materials.
The piece presented here is a live recording at the “Modular On The Spot” event held during Moogfest on May 21, 2017 in Durham, North Carolina. The composition, titled Buchla Abstractions for Morphagene, is based on recordings created with Buchla synthesizers, but is performed on a Eurorack system comprised of Rossum Electro-Music, Make Noise, and Audio Damage Modules.
Kurt’s Website >
Apple Music/iTunes >
Kurt’s BandCamp >
Walker Farrell Is part of the Make Noise crew. When he was about 17 Walker composed a piano piece that was based around a chord he had “discovered”. This particular chord, when broken out and arpeggiated, had a feeling that was both longing and uplifting simultaneously, a never-ending cadence, an equal temperament Shepard scale. It turned out to be minor-flat-6, though the phrasing was as important as the content. In C it was spelled C, G, Gb, Eb from bottom to top. Two perfect fifths separated by a minor second. It’s also notable as the core of the Rachmaninoff Prelude in c# minor, which was a favorite of Walker’s at that time. Repeated, transposed, or reiterated in successively higher octaves, it had, for him, a sense of endless reaching. (It could also be spelled as an Ab Major 7th chord, but he always felt the C as the root.)
In this decade Walker has been musically more interested in structural grounding than in goal-oriented results. He makes music without specific results in mind, in two branches: one concerned with the creation of structures within which to improvise, and the other concerned with generative music (music that creates itself). “Green Fiber” is one of his proudest examples of the latter. It is realized on a modular synthesizer, and based on three ideas:
- The notion that any given “state” of the system should follow from the previous state, and should lay the grounds for the next state.
- The oxymoronic or perhaps redundant idea of processing an additive oscillator with a frequency-specific resonator; this leads to occasional periods of great intensity when particular frequencies are emphasized twice over.
- The above-mentioned chord and the feelings it still inspires in him. The sense of “always ending and always beginning” seems appropriate for generative music that cannot have a larger structure imposed upon it.
The piece is played without any input from the performer. In other words the system is the performer. The recording was made without being monitored by a human.
On 6/2/17 Walker released a new EP of improvised computer music.
Check out more of his music here >
Nathan Moody is an audio, visual, motion, and interactive designer and artist living in the San Francisco Bay Area.
You Can Find More of His Music Here >
Ashley Trace has been producing electronic music in many genres since she was 14. Growing up in Detroit, Michigan, she was exposed to techno from a young age. She has produced music under a variety of aliases in many genres, particularly: psytrance, drum and bass, breakcore, chiptune, and ambient.
Check Out More of Venus Dawning Here >