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.
John Bender is many things. If you were to refer to him as an innovator, a pioneer, sonic explorer and sound scientist; you would be correct. Mostly though, John is a force of reckoning. His sheer output is amazing. He does not deal in revisionism, and is compelled to see what he can make the equipment do for him.
John started releasing his compositions in the early 80’s from his home studio in Cincinnati. Influenced by Can, Suicide, Pere Ubu, Terry Riley and Don Cherry he created music that became a template for much of the electronic music that has happened since his early releases.
His drive to make music and move forward exploring technology is at the level of compulsion and has very little if any regard for looking backward. His early works on his own imprint, Record Sluts, are amazingly ahead of their time, and are a rare commodity sought after by collectors.
After a thirty year hiatus from publicly releasing music, John has surfaced stronger and more creative than ever, releasing a daunting amount of music on his SoundCloud. Data Cult Audio is honored to present this episode of exclusive music by John. It is being posted on Veteran’s Day 2017. We think it is an apt day for a guy that helped build a part of the electronic soundscape we enjoy today.
Links to John Bender:
Vance likes sound. He likes making things. He likes quiet surprises. He likes making sounds that surprise him. It started with Max controlled midi synths, (a Nord rack and Nord Modular) and Max/MSP laptop performance instruments in the 90s. Always interested in creating systems that could only influence and steer, but not control. Propagating an esthetic. He focuses on collapsing sounds – made both from the synthesizers and field recordings. Sonic archaeology – sounds on the edge of breaking – suspended in a structure bordering song and chaos. But please have fun. Eventually, his monkey sphere’s needs and the functionality of the tech took over, leading to working in the NYC art scene designing and building all manner of systems for artists and institutions. And in the process – lost any artistic direction himself. Escaping to the hinterlands he has fully dedicated himself to his midlife-crisis and modular synthesizer systems. Again he hunts through sonic rubble, rhythmically pecked by familiar signposts of our past.
Jen Kutler is a sound based performer, maker and artist. She modifies found objects that are cultural signifiers of power, gender and intimacy to create atypical instruments for her performances. Her current project My Wife is a sound based performance group featuring many of her instruments and a sample based recording project exploring the discrepant experiences of familiar sound environments.
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
Eightch started in New Orleans, LA. in 2003 as the solo project of James Watson. Eightch is pronounced like the letter “H” and is currently out on tour. The energy of a photon is directly proportional to its frequency. Written, Performed and Recorded by Eightch for Data Cult Audio. All Rights Reserved. 2017.
A.M. Filipkowski is fascinated by dystopian fiction. This is the starting point for his aural projects. He attributes this to growing up in inner city Detroit, and watching as the city seemed to die around him. Remnants of industry diminished into a barren wasteland engraved a mark on him that is expressed in the sounds he creates. He is also the founding mind behind Data Cult Audio.