Data Cult Audio 0015 – James Cigler

About:

Saturday 07/22/2017 Data Cult Audio presents James Cigler. You can catch it on iTunes or SoundCloud as Data Cult Audio or catch us on the web at http://datacultaudio.com
 
About:
After years of trying to find more interesting guitar sounds, James Cigler discovered synthesizers, and eventually modular synthesizers, and the now decade-long obsession began. James is probably most well known for his modular demonstration videos on youtube, but over the last few years he’s focused on more performances and capturing his sonic explorations. Last year saw the release of the ‘People’s Temple’ trilogy, under the moniker Jim Drones. With these new pieces, and new video projects in production, James shows no signs of slowing down.

You can find more on James here:

Data Cult Audio 0012 – Brad Clay

About:
Brad is known throughout the modular community as the owner of Glow Worm Cables LLC, maker of cool, multicolored, glow-in-in-the-dark patch cables. He is based out of Muscle Shoals, Alabama, a town known for its unique musical history. Brad has just released his album Zero Zero One on Nebula Collection available on cassette and digitally.
Find out more about Brad and Glow Worm cables from the links below.

https://www.glowwormcables.com/
http://instagram.com/glowwormcables
https://nebulacollection.bandcamp.com/album/zero-zero-one

Data Cult Audio 0013 – Void Manes

About:
Void Manes plays gloom-psych, and has collaborated with the Melvins, Hepa-Titus, and Mike Patton. Forthcoming releases include a collaborative album with the Melvins paying tribute to Throbbing Gristle, and a split LP with ear moviemaker Christoph Heemann.

Bad vibes guaranteed.

Links:
BandCamp
Facebook

Data Cult Audio 0011 – Kurt Kurasaki

About:

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 >

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 0007 – CINEMA


About:
CINEMA is the audio project of Dallas based audio/visual artist Evan Henry. His performance and music as whole are complex and deeply meditative. He describes his sound ‘Like looking into a microscope at a simple human hair, only to find small subtleties growing into new forms, and only to be deeper degraded in physical form.’ An ever-evolving set variables infused with rich harmonic structure and sonic disintegration is what Henry focuses into the sound of  CINEMA. His goal is to remind us all, that everything here is temporary, and to perhaps not take it for granted.

You can find more of CINEMA’s 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 0005 – redstripedown


About:
Cory Sterling grew up as a performing musician, trading a traditional childhood for the late nights of local jazz and rock clubs. After studying at Berklee College of Music, he moved to New York City where he gained an affinity for electronic music and the improvisational nature of the modular synthesizer. Combining traditional musical elements into a historically non-traditional instrument, his compositions bring melody and harmony together with rich sonic textures. His latest release, Passenger, is available now at redstripedown.bandcamp.com 

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 >
Check Out Flohr on Instagram >
Check Out Flohr on YouTube >

 

Data Cult Audio 0001 – Birk

About:

Birk has been performing electronic live sets in Atlanta since 2009. He prefers to use all hardware synthesizers and sequencers for his sets. Birk often collaborates with various other musicians spanning genres from New Age, ambient and techno. This live performance recorded at Atlanta’s first Modular on the Spot.

Find out more about Birk >