CASSETTE LINER NOTES
Jonathan is a time traveler. Concentrics is a collection of past and future artifacts, converging on the present with deep love.
Within this sixth iteration, tradition and trailblazing dovetail. For those familiar with Jonathan’s masterful studies of rhythm, SIX boldly reframes his virtuosity in the domain of melody.
What amazes me about each new entry to Concentrics is that its thesis continues to deepen. VI features gestures and experiments that can be found across the body, which are here presented in staggering detail and technicolor. In many ways, it completes the missing fragments of its predecessors – metaphors that were half-formed throughout the series find their proper phrasing.
As you listen, take notice of the care with which these offerings are delivered. They unfold the way good sermons do. For those that have attended before, the themes are recognizable, but the word choice is more precise. And it lands differently depending on what you need from it.
Lastly, here are Jonathan’s own thoughts on some of the themes I’ve carried with me from listening to his work over the years.
Dan Derks
4/23/2020
RE-PITCHING
As a kid looking through either binoculars, a telescope, or microscope it became clear that things exist differently (or reveal new things about themselves) at various scales.
By the time you hear a song I’ve made there’s a high chance the whole track has been stretched, squeezed, and pitched either up or down to suit my taste. Also, I never ever use drums at the ”normal" pitch at which I found them.
PHYSICAL
You can imprint a certain amount of physical presence on any sound by employing tools that adjust aural perception of space or create sense of motion: reverb, compression, EQ.
But, honestly, the simplest technique has to be use of a proper delay. It doesn’t matter if the delay matches the signal (e.g. analog-analog, or digital-digital). Probably what matters more is delay time, feedback and how many other delays you stack onto one another.
TEXTURE
I see texture and rhythm as equivalent: simple means to control tension.
TIMELINE
I constantly make connections to my past: methods, tools, priorities etc.
These are things that have shaped me and I use creation of new songs to reference and examine what is still important to me.
This provides both tension and fulfillment for me when I can integrate familiar themes, ideas and techniques with things I never knew or was not capable of doing before.
It gives me a thrill while still remaining a source of emotional comfort in some ways.
BALANCE
The initial idea for the series was based around the natural pleasure of watching concentric circles expand or causing them to ripple outward by some deliberate action.
Because of this, I like to say that a concentric song is found and documented.
COLLABORATION
Collaboration has become integral to my work as I’ve sought knowledge about the tools I use (leaning heavily on independent/individual designers of hardware and software).
Members of the lines community have become partners in an intimate form of collaboration. When I think of things openly shared by Andrew Shike, Olivier Creurer, Mat Daniel, and Igor Baranov…it’s undeniable each one has contributed significantly to my growth and I’m more invested in the short term and long term impact of their projects.
Because of these bonds, I reach for their tools more often (they fit my way of thinking and musical priorities) plus feel a sense of pride to participate in showcasing their tremendous work. When I use Prosody (m4l suite), for example, I often think of the developer Andrew, but also Ezra Buchla or Rodrigo Constanzo and hope to push the boundaries of what’s possible with their instruments.
TRADITION
My main source of inspiration, which might surprise some listeners, is my optimism for the future of this planet and the people living on it (which is based on my spiritual beliefs).
LANGUAGE
I’m more concerned with sharing a vibe than communicating any specific message through music.
I think my excitement about certain sounds and their relationship to one another is important. People should feel some of what I did when I made the piece, regardless what that “feeling” might be…
I also strongly feel like people need to acknowledge their imperfections as humans so generally, I’ve embraced some level of failure in all songs in the Concentrics series.
Maybe the message I convey is to embrace a healthy pace of life to whatever degree we possibly can. Music like this may help…
