Suss Müsik continues an obsession with building handmade synth devices that make odd (and sometimes beautiful) noise. The latest one is a dual-ouput synth controlled by flashlight, each channel with a built-in VCF control. This recording was made accompanied by a fake string quartet (not shown on camera).
Latest in a series of Suss Müsik Quarantine Concerts, along with this little ditty composed with the Artiphon INSTRUMENT-1. The device’s default modulation functionality is controlled by external foot pedals, leaving the internal accelerometer free to manipulate other sounds.
Suss Müsik will be making some exciting announcements in the coming weeks, so stay tuned for those (or don’t).
Out of nowhere comes a new Suss Müsik release, a brief little six-track EP that shan’t take more than a half-hour. It’s available on Bandcamp and features instruments built or customized by Suss Müsik. Visual artist B.G. Madden did the cover. Full description below:
SixOverEight is an homage to life-as-prototype, based on the theme of adaptation.
The concept of “sixes and eights” came about organically. Sequences of notes or chord progressions (the “eights”) were performed using customized or handmade instruments. The most workable bits were then developed into short offerings (the “sixes”) and recorded live.
Coincidentally (or not), sixes and eights also refer to personality types within the Enneagram. For those unaware, the Enneagram is a complex system of patterns developed by Russ Hudson and the late Don Richard Riso.
Put in simple terms, everyone emerges from childhood with one of nine personality types dominating their outlook and behavior. Sixes, for example, tend to look outside themselves for personal validation: jobs, relationships, social status.
Eights, meanwhile, are more willing to follow their instinct. They have no problem asserting themselves (sometimes to the point of hostility) and believe their life mission is to openly challenge the world.
Identity is fluid, however, as are all forms of survival. The human experience is defined by our capacity for resilience. As the year 2020 draws to a close, may we all support each other in mutual adaptation.
Instruments used include: prepared piano; piezo-amplified kalimba; homemade sawtooth synth; distressed fake marimba; open D-tuned Artiphon INSTRUMENT-1 (3D-printed frame) with custom voices; photo-sensitive synth played with a flashlight.
Suss Müsik continues a very fruitful collaboration with visual artist B.G. Madden. The latest piece, titled Dotto, was rendered from audio scans of Madden’s most recent work.
Given current pandemic conditions, Madden delivered his contributions via US mail in the form of handmade post cards. The new pieces are beautifully reminiscent of post-modern “picture theorists” from the late 1980’s: Richard Prince, Annette Lemieux, and especially the late John Baldessari. The scanned output was then filtered through grain synthesizers and Moog modulation boxes.
Suss Müsik has lagged behind the Quarantine Concert series. Dotto will likely be the next piece “performed.” Or maybe something different. The new social archetype is ambiguity, and Suss Müsik embraces it.
In related news, Suss Müsik’s piece entitled Attaché (also a collaborative work, this time employing Madden’s art as graphic notation) will be featured at this year’s New York City Electroacoustic Music Festival (NYCEMF). Again due to the global pandemic, the entire concert series is taking place virtually. Some great work there to be heard, however, and you don’t even have to leave your house.
Suss Müsik created a little video using the Artiphon INSTRUMENT1, six simultaneous MIDI channels, two Moog analog processors, three electric piano chords, the occasional burp of a grain synth module, and ever-increasing dollops of harmonic reverb.
Here’s the description of process:
Deconstructivism is a philosophy once taught by Jacques Derrida, who believed that absolutes were confining and that multiple meanings cannot be reconciled within a singular work. Think of it as a way of discovering hidden meanings within a structure intended to subvert them.
Deconstructivist architecture is designed to give the impression of fragmentation within a wholly composed building. The style is characterized by non-linear shapes that appear to distort predictable forms into controlled chaos.
With this in mind, Suss Müsik tested the Artiphon INSTRUMENT1. The intention was to see if a complex polyrhythm of interwoven phrases could be built up, broken apart and played in real time. Each phrase is built around a variation of a simple F chord, their timbres and timings controlled manually.
A total of nine component phrases (each with its own voice and notation) were looped with slight variations in the base chord fingering. This allowed subtle phasing between 3-note and 4-note sequences on the Artiphon.
Eventually the pieces dissolves into an ambient wash, signifying the release of absolute structure. When the parts are reassembled, a glitch filter and two Moog processors distress the remaining bits — a semblance of fragmented reminders.
Suss Müsik has released a new album entitled NON to close out 2018. NON is described as “four electroacoustic pieces based on live improvisations using piano, percussion, Moog synthesizers, electric guitar, primitive electronics, sampled wind instruments, hitting things, obfuscation.” This is as good a description as any. NONis available on Bandcamp and will soon be released on the usual commercial channels.