Post-classical ambient minimalism for crepuscular airports

Live Studio Improvisations

Suss Müsik is releasing a series of live improvisations, recorded straight to 8-track in the studio. This effort (working title Non) is in conjunction with an upcoming announcement regarding Suss Müsik’s distribution of material. We’re very excited about these developments.

Anyway, the first release of the series is titled Op-Ed and was performed on treated piano, guitar, electronics, organ and percussion. It got a little crazy after a while, but this excerpt of three and a half minutes was captured nicely.

2018 Refresh

Now that Zygotes has been released, Suss Müsik is exploring new paths in sound creation. We learned quite a bit making music for fake orchestras, and we’re looking to expand that palette into new realms and languages.

In no particular order, here is what has Suss Müsik excited for the time being:

Creating rhythmic signatures involving tuned and found percussion. This comes from a long fascination with non-western musical influences, including the drumming practices of such artists as Babatunde Olatunji.

Use of the Slonimsky-Schillinger symmetric system for creating notation logic using randomized scales. We don’t pretend to understand quite all of it, but it’s an interesting way to work.

Extrapolation of live recordings into sequential patterns. In other words: playing live in a studio for some amount of time and drawing small bits of material from the session. For example, the results of what happens when a digital delay artifact is compressed and randomized with other voices (not unlike the work of Markus Popp, only using instruments rather than software).

Greater accessibility. Suss Müsik was encouraged by the response to our most recent Disquiet Junto submission, which has us thinking that it might be fun to create a series of quirky, danceable dub compositions. Think early 1980’s bands like Maximum Joy or The Pop Group.