Data Cult Audio 0009 – Walker Farrell

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: 

  1. The notion that any given “state” of the system should follow from the previous state, and should lay the grounds for the next state. 
  2. 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.
  3. 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 >

Data Cult Audio 0006 – Venus Dawning


About:
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 >

Data Cult Audio 0004 – Flohr

About:

Flohr’s music explores timbre and texture through time by means of manual and automatic repetition, momentary gesture, and the construction of autonomous self-generative audio environments. His music draws on a diverse archive for its inspiration: from ambient, kosmische musik, jazz improvisation and tonal minimalist composition, through post-punk, industrial, techno and jungle, to the melodic and generative wing of contemporary modular synthesizer performance. A student but also a teacher, he is interested in being affected by sound, responding to it and being led by it. Recently he has been oriented more towards real time performance than “production”. Beyond solo work he is a part of many duos: Marketa Lazarova, Fictions, Ordered Pairs, Efris. Affiliated with the Volta Laboratory Social Club and the Whisperbrick art collective.

Check Out Flohr on BandCamp >
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Check Out Flohr on YouTube >