Here’s something I’ve been very eager to share with you.
My forthcoming album, “Hold” is up for pre-order as of today.
It will be released on CD (with 10 photographic prints on transparent paper) and download on the 20th of December 2022 by Wounded Wolf Press.
Edition of a 100 copies.
Also available for download on the date.
Listen to the first track off the album, “Hold Teeth:
Go to w / w / p to pre-order the CD (email to firstname.lastname@example.org with shipping details)
After finishing the album last year, I wrote up various PR blurb “introductions” to it, but I’ve come to realize I don’t care for adding colourful comparisons and placing it in any particular context, perceptual or historical, in the listener’s mind before they have a chance to listen to it, so I will simply say this:
Please feel it.
(If you do need a quick blurb: it’s fuzzy, crunchy computer music)
Recorded and mixed at home in Copenhagen in August–November 2021.
Additional source material provided by Martin Wrang and Atay Ilgün.
Artwork by Morten Christiansen.
Mastered by Roc Jiménez de Cisneros.
(If there happens to be any questions regarding process and technique anyways, let me know and I’ll try to answer as best I can)
Congratulations on the release! Where’s the release party?
Thank you very much. There is none this time around, unfortunately. Unless I sit around and look angry on a livestream.
I am always happy to hear about the process behind things. That track is crunchy fuzzy indeed.
How did you get there?
In short: wonky supercollider FFT mangling and fuzzy outboard gear.
The crunch and fuzz on the whole album is mostly a product of two units; the Dynacord Echocord Super 76 tape delay/spring reverb, which has an extremely fuzzy preamp section. It can destroy everything. And the other unit is a Korg SDD1200 dual digidelay, which also has a pretty fuzzy preamp, but mostly used for its hold function. So most granular-like sequences on the album is the delay being fed trigger signals from Pure Data. It isn’t heavily featured on “Hold Teeth”, but it does have some use here and there.
Otherwise, I think it was a mixture of guitar bits (from a friend) mangled in both composer’s desktop project and eventually Supercollider, some Nord Micromodular, mangled, and I honestly can’t remember what the wave of distorted noise that feels like a train passing by is. It might have been (mangled) Xynthi recordings. But also lots of very artifacts-heavy supercollider FFT processing. Usually used to coax out some weird artifacts.
I always look forward to your releases.
That means a lot. cheers.