Wednesday, February 29, 2012
Cymophane is a collaboration between Kevin "Pupilar" Ingham and Ian "SDZH" Ainslie. An ethos of evocative cinematic sound design married with dub, techno, breaks and bass bridges the past, present and future of electronic music, veering between textured calm, gushing emotion and pounding intensity.
Elizabeth describes her life as ‘a manageable mixture of school runs, supermarkets and stolen sounds’. Her passion for making field recordings, often unplanned and recorded on her iPhone, is explored in precious moments between the chores of daily life and parenthood, lending itself to the exploration of everyday and often overlooked sources.
‘Péage (France, 2011)’ juxtaposes multitracked recordings of flushing toilets made in cubicles (in a hotel, an airport and a hospital) she found herself in on a recent family holiday in France, extracts of a recording made during a rare moment of privacy in a cafeteria on the same trip and other incomplete and forgotten material she is ‘always finding on memory sticks the children have long since co-opted’.
Other projects currently waiting for Elizabeth to find the time to complete them include a series of multitrack recordings of identical walks and binaural recordings exploring her experiments with turntables and the act of listening to other artists’ recordings.
James Spitznagel and Trevor Pinch comprise the duo known as
The Electric Golem, who yield generative, modern psychedelic mindscapes thanks to Pinch’s command of his Moog Prodigy and homemade modular synths, and Spitznagel’s own battery of devices: the textures he coaxes from the Evolver, Mopho, Tenori-on, Nintendo DSi, iPod Touch, and Orb Sequencer are as novel as the modules themselves.
During his daylight hours, Pinch is Professor of Science and Technology Studies and Professor of Sociology at Cornell University, as well as the coauthor of perhaps the definitive book on synthesizer technology, Analog Days: The Invention and Impact of the Moog Synthesizer. Pinch’s expertise on those beloved vintage instruments is vividly illustrated by his use of atypical tone inventions, emphasizing the machine’s grungier true grit. Spitznagel reflects his colleagues’ savvy well; a techno-polyglot, digital computer artist, photographer, and sonic provocateur who has released all manners of twisted electronica on his Level Green imprint, he continues to raise the bar for circuit-based music as he parries with the notions of tone, glitch, frequency, and pulsation.