A granular synth piece fed by a crunchy field recording. [more inside]
A walk through the depths of feedback noise [more inside]
After reading way too much about cybernetic theory I put together a feedback patch to provide some period-appropriate music to my Serge system. [more inside]
Sample reduced synthetics, atonal feedback, and other fancy marginally (ir)relevant musical gibberish. It's loud, and isn't that really all you wanted? [more inside]
Spidey sense tingled. Dashed this off.
Four bass tracks, recorded on 4-track cassette in the mid-80's. Made on a dark evening, home alone. [more inside]
You and I, and he, are all who have this key [more inside]
I decided to take a trip back to when I first started writing music on my computer. (No, this isn't a submission to the montly music challenge.) This is a super noisy track, from my Buzz days. Very different from anything I've written lately, but one of my favorite tracks I've ever written. [more inside]
This ear-piercing ambient piece was made in 2003, part of a release called Ultraviolet. I was listening to a lot of Terre Thaemlitz at the time, particularly Soil.
I put this ambient track together back in 2003 during one of many sleepless nights, as part of a larger release called Threads. After listening to it again, I liked its hypnotic lull enough to want to share it here, and I hope it rewards your patience.
Another one of those deceptively sad songs. Apparently I should start writing music for movies. [more inside]
A little noisy, a little groovy. It's got breakbeats, wailing guitars and nasty feedback. It reminds me of a cross between Moby and Flying Saucer Attack, hence the name. There are a lot of interesting automation things going on here.
Acid-ambient space dub loops. This is a live jam I did with a friend while visiting him in Seattle. The rig was comprised of me playing small and very slow beat loops in Traktor at BPMs relationally fractional to a master tempo of 110 BPM, while my friend looped samples in Live, both from prerecorded and live samples from mixboard outputs and sends. There is a Macbook microphone involved in the sampling of the room and as a feedback and reverb source. There is no shared MIDI clock in use - all tempo/pitch control is manual, and listen for long beat-count tempo-drifts of loop components, which are manipulated and intentional. The majority of this dub takes place as variations of two beats in one "measure", sometimes four but never more. This cut of the track is the last ten minutes of approximately one hour of play and loop building. It is pre-release version intended for derivitive works, remixes and redubs. (If you wish to remix, sample, splice, loop, fuck, deconstruct or otherwise destroy this track, I would vastly prefer that you please contact me via the email in my profile for the uncompressed and unprocessed file and the full Creative Commons license. Please do not use this low-bitrate file.)
Emperor ZiLOG said, "Cough up another quarter, kid." Who was I to refuse the galactic imperative?
Brittle, flittering, skittering, algorithmic monochromatica — with a bit more color towards the end.
spit, n. 1. a. The fluid secreted by the glands of the mouth, esp. when ejected; saliva, spittle; a clot of this.
A chunkier, clunkier version of Ohming with a coolcat intro thrown in, just for laughs. Hey, why not?
I love evolving a feeling or a story out of feedback. This uses the free DFX Transverb plug with Ableton Live, where I set up various send channels to feed on and eventually destroy each other.