These tracks began as doodles and sketches. Each was then subject to a set of processes that might be called mathematically-randomized, tweaked-clone plunderphonics. These processes were continued until the resulting tracks transcend the harmonic ambiguity and rhythmic homogeneity of the source material and attained some characteristic along the lines of cut-rate counterpoint, faux-free exhilaration, or brooding-simulacrum angst. It is fervently hoped that they contain passages of music which—to paraphrase Morton Feldman—epitomize noise’s conception of us, rather than our conception of noise. 

Category: Music

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