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)
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.