“As a saxophone player and composer who has integrated electronics in my music for many years, I wanted to experiment with the reed quintet – typically a classical chamber music format – by opening it up with improvisation and electronics… it ended up as a curious assemblage at the intersection of electronic music, noise, free jazz, and modern chamber music.”
Kyle Bruckmann & Lance Grabmiller – analog electronics. Cassette (with download card) in a limited edition of 40. Featuring design by Pan Pan/Joshua Tabbia, and texts pilfered from Matt Shears’ 10,000 Wallpapers, Brooklyn Arts Press, used by permission.
“. . . There are moments in these pieces that explore the tension and interaction between noise and melody, acoustic and electronic sounds, the acousmatic blurring of sound sources, the subversion of the traditional conceptions of foreground and background events, notated structural materials that function invisibly within the music, and improvisations that can be difficult to determine where they lie on the spectrum of fixity and flux. . .”
Addleds explores timbral and textural extremes of distended instrumental technique via improvisation and open-ended compositional strategies. Their music tends towards a brutalist minimalism as informed by the noise underground as by recent developments in the field of free improvisation.
Lance Grabmiller and I have been partners in shudder (with Phillip Greenlief) since 2004, on double reeds and digital electronics respectively. In 2012, we began exploring a duo configuration employing exclusively modular analog electronics. The results have thus far been delightfully nasty, unapologetically invoking our mutual love of old-school industrial crunch. Our opening salvo is available as a FREE DOWNLOAD.
“. . . if I closed my eyes, I managed a vague, if largely false, memory of being present at a Smithsonian Folkways recording session in some obscure basement in Mumbai or Tunisia. A mad rumba line was twisting insect—like through the cabaret, driven in their frenzy by the rubber mallets and honking legbone flutes of the featured musicians. At one side of the room, a group of Fez-appareled recording technicians could be seen working diligently on some ancient machinery. . .”