Special guests: Mark Hosler - Guitar on “Lent Foot”. Drew Daniel - Rhythm programming on “Every Piano”
Mastered by Thomas Dimuzio. Album artwork by Max Allison.
Thanks to: Evans Hankey (for the loan), Zeena Parkins, Jennifer Walshe, Doug & Max, Seth & Seeta, Drew & Martin, Emma & Méabh and especially my parents.
Like its predecessor ‘Monitress’, this is an album about machine listening. Once again my mobile phones and tablets are running pitch trackers and synth apps, converting the sounds they hear into error-prone melodies. The trackers are solely reflexive — they can’t learn, or remember — but they output sounds of unarbitrary complexity, or — music. But one less defined as a form of self-expression, and more as a model of relationships within society, specifically those relationships being formed between ourselves and our tools.
If the last album focused more on improvisations and abstraction, this time around I prepared more in the way of ‘tunes’ ahead of time before turning them over to the trackers. I also let myself push the results around a little more. The title is less ironic than a long standing sense that the music you don’t like yet is the music most likely to come in handy.
Referenced: The Barrons, David Tudor, Max V. Mathews & John Pierce, Lejaren Hiller, Pierre Barbaud, Iannis Xenakis, Herbert Brün, James Tenney, Gottfried Michael Koenig, Pietro Grossi, Sister Harriet Padberg, Gordon Mumma, Roland Kayn, Raymond Scott, Joel Chadabe, Douglas Leedy, Laurie Spiegel, David Behrman, The League of Automatic Music Composers, Don Slepian, The Hub, Maryanne Amacher, David Cope, George E. Lewis.
supported by 30 fans who also own “Popular Monitress”
a masterpiece in the rough. somehow manages to bring countless fragments of sound, in all of their singular eclecticism, down to the most unexpected yet consistently flooring longform body of music i've experienced since autechre's nts sessions. the ultimate collaboration project to end all solitudes. avery
supported by 26 fans who also own “Popular Monitress”
If Frank Zappa made music for The Weather Channel, this is what it would sound like. Or maybe if Casiopea took copious amounts of LSD in the studio. I'm never disappointed when a track from this album comes up on random. So different, but so well done. I seriously cannot pick a favorite off this album, but "Imprinted, Encoded, Shone (Emergence)" really exemplifies what this album is all about. Michael Andrews