Future Travel
David Rosenboom
Future Travel
Boomkat Product Review:
Oren Ambarchi's Black Truffle handles the first ever reissue of a 1981 oddity from algorithmic music pioneer and long-time Buchla collaborator David Rosenboom. On 'Future Travel', Rosenboom uses the computer-controlled Buchla Touché as a virtual collaborator, prompting the instrument to spit out uncanny jazz, exotica and folk phrases that he bends into digital age cascades of plastick notes and obtuse rhythms. Deranged, brilliant and unbelievably prophetic stuff - essential listening for fans of Nuno Canavarro's 'Plux Quba'.
Before he embarked on 'Future Travel', Rosenboom wrote 'In The Beginning', a suite of compositions for acoustic instruments and synthesizer that outlined his concept of "proportional music" - cognitive musical models (or algorithms) that allowed the composer to use proportional relationships to define harmonic relationships, dynamics, rhythmic subdivisions and melodic shapes. He'd collaborated extensively with Buchla at this stage, having developed concepts for a number of the Buchla 300 Series Electric Music Box's modules, but it was the digital-analogue Touché that would open up the possibilities he needed for his ideas. Rosenboom was tasked with writing the keyboard synthesizer's software, and it's this instrument that's responsible for the meat of 'Future Travel'. With the Touché in hand, Rosenboom was able to code his models in real-time, so he set up shop at Francis Ford Copolla's Zoetrope studio in San Francisco and experimented live, sketching out ideas based on his loose 'In The Beginning' concept and later adding acoustic instrumentation and vocals from his regular collaborator (and sometime partner) Jacqueline Humbert.
The result is an album that takes a wrecking ball to notions of high and low culture, predicting in some way an oncoming deluge of genre-agnostic electronic music that'd be as likely to take its melodic pointers from TV themes or radio pop as it would snatch elements from the established pillars of good taste. On opening track 'Station Oaxaca', Rosenboom's ideas are outstretched visibly; it's mind-bogglingly complex on a compositional and technical level, but he never lets the formalism of the avant-garde get the better of him, mixing up rapid player-piano style synth chatters with slushy romantic themes, newscast sting sound and marimba-laced exotica. The linking thread is the characteristically odd sound of the Touché, that Rosenboom stretches to its limits, using its (at the time) alien sonics to grate against the schmaltzy acoustic instrumentation. And on 'Time Arroyo' he edges further into madness, layering different rhythmic synth phrases that seem to fall in and out of time - it's carnivalesque kosmische music that's like little else out there.
Rosenboom uses more corporeal beats on 'Corona Dance', offsetting metallic synth blips and fanfares with hypnotically shifting hand drum patterns and claps, and on 'Desert Night Touch Down', he enters the matrix, playing Humbert's voice, robotically reciting passages from the text component of 'In the Beginning', against levitational new age-style motifs. Humbert's existential narrations complete the album's concept - she plays "The Double" and two spirits, each of which represents a fragment of some far future cyborg consciousness. And it's these readings that ready us for Rosenboom's concluding experiment 'Nova Wind', an eccentric patchwork of pitch bent improvisations, musichall piano 'n synth duets and rhythmically smashed algorithmic electro-acoustic workouts. To finish the reissue off in fine style, Black Truffle have fleshed it out with an entire additional album of previously unheard live and studio material from the same period, two immense compositions ('Future Travel Patterns' and Future Travel M.U.S.I.C.') that shine further light on Rosenboom's idiosyncratic processes.
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Boomkat Product Review:
Oren Ambarchi's Black Truffle handles the first ever reissue of a 1981 oddity from algorithmic music pioneer and long-time Buchla collaborator David Rosenboom. On 'Future Travel', Rosenboom uses the computer-controlled Buchla Touché as a virtual collaborator, prompting the instrument to spit out uncanny jazz, exotica and folk phrases that he bends into digital age cascades of plastick notes and obtuse rhythms. Deranged, brilliant and unbelievably prophetic stuff - essential listening for fans of Nuno Canavarro's 'Plux Quba'.
Before he embarked on 'Future Travel', Rosenboom wrote 'In The Beginning', a suite of compositions for acoustic instruments and synthesizer that outlined his concept of "proportional music" - cognitive musical models (or algorithms) that allowed the composer to use proportional relationships to define harmonic relationships, dynamics, rhythmic subdivisions and melodic shapes. He'd collaborated extensively with Buchla at this stage, having developed concepts for a number of the Buchla 300 Series Electric Music Box's modules, but it was the digital-analogue Touché that would open up the possibilities he needed for his ideas. Rosenboom was tasked with writing the keyboard synthesizer's software, and it's this instrument that's responsible for the meat of 'Future Travel'. With the Touché in hand, Rosenboom was able to code his models in real-time, so he set up shop at Francis Ford Copolla's Zoetrope studio in San Francisco and experimented live, sketching out ideas based on his loose 'In The Beginning' concept and later adding acoustic instrumentation and vocals from his regular collaborator (and sometime partner) Jacqueline Humbert.
The result is an album that takes a wrecking ball to notions of high and low culture, predicting in some way an oncoming deluge of genre-agnostic electronic music that'd be as likely to take its melodic pointers from TV themes or radio pop as it would snatch elements from the established pillars of good taste. On opening track 'Station Oaxaca', Rosenboom's ideas are outstretched visibly; it's mind-bogglingly complex on a compositional and technical level, but he never lets the formalism of the avant-garde get the better of him, mixing up rapid player-piano style synth chatters with slushy romantic themes, newscast sting sound and marimba-laced exotica. The linking thread is the characteristically odd sound of the Touché, that Rosenboom stretches to its limits, using its (at the time) alien sonics to grate against the schmaltzy acoustic instrumentation. And on 'Time Arroyo' he edges further into madness, layering different rhythmic synth phrases that seem to fall in and out of time - it's carnivalesque kosmische music that's like little else out there.
Rosenboom uses more corporeal beats on 'Corona Dance', offsetting metallic synth blips and fanfares with hypnotically shifting hand drum patterns and claps, and on 'Desert Night Touch Down', he enters the matrix, playing Humbert's voice, robotically reciting passages from the text component of 'In the Beginning', against levitational new age-style motifs. Humbert's existential narrations complete the album's concept - she plays "The Double" and two spirits, each of which represents a fragment of some far future cyborg consciousness. And it's these readings that ready us for Rosenboom's concluding experiment 'Nova Wind', an eccentric patchwork of pitch bent improvisations, musichall piano 'n synth duets and rhythmically smashed algorithmic electro-acoustic workouts. To finish the reissue off in fine style, Black Truffle have fleshed it out with an entire additional album of previously unheard live and studio material from the same period, two immense compositions ('Future Travel Patterns' and Future Travel M.U.S.I.C.') that shine further light on Rosenboom's idiosyncratic processes.
Boomkat Product Review:
Oren Ambarchi's Black Truffle handles the first ever reissue of a 1981 oddity from algorithmic music pioneer and long-time Buchla collaborator David Rosenboom. On 'Future Travel', Rosenboom uses the computer-controlled Buchla Touché as a virtual collaborator, prompting the instrument to spit out uncanny jazz, exotica and folk phrases that he bends into digital age cascades of plastick notes and obtuse rhythms. Deranged, brilliant and unbelievably prophetic stuff - essential listening for fans of Nuno Canavarro's 'Plux Quba'.
Before he embarked on 'Future Travel', Rosenboom wrote 'In The Beginning', a suite of compositions for acoustic instruments and synthesizer that outlined his concept of "proportional music" - cognitive musical models (or algorithms) that allowed the composer to use proportional relationships to define harmonic relationships, dynamics, rhythmic subdivisions and melodic shapes. He'd collaborated extensively with Buchla at this stage, having developed concepts for a number of the Buchla 300 Series Electric Music Box's modules, but it was the digital-analogue Touché that would open up the possibilities he needed for his ideas. Rosenboom was tasked with writing the keyboard synthesizer's software, and it's this instrument that's responsible for the meat of 'Future Travel'. With the Touché in hand, Rosenboom was able to code his models in real-time, so he set up shop at Francis Ford Copolla's Zoetrope studio in San Francisco and experimented live, sketching out ideas based on his loose 'In The Beginning' concept and later adding acoustic instrumentation and vocals from his regular collaborator (and sometime partner) Jacqueline Humbert.
The result is an album that takes a wrecking ball to notions of high and low culture, predicting in some way an oncoming deluge of genre-agnostic electronic music that'd be as likely to take its melodic pointers from TV themes or radio pop as it would snatch elements from the established pillars of good taste. On opening track 'Station Oaxaca', Rosenboom's ideas are outstretched visibly; it's mind-bogglingly complex on a compositional and technical level, but he never lets the formalism of the avant-garde get the better of him, mixing up rapid player-piano style synth chatters with slushy romantic themes, newscast sting sound and marimba-laced exotica. The linking thread is the characteristically odd sound of the Touché, that Rosenboom stretches to its limits, using its (at the time) alien sonics to grate against the schmaltzy acoustic instrumentation. And on 'Time Arroyo' he edges further into madness, layering different rhythmic synth phrases that seem to fall in and out of time - it's carnivalesque kosmische music that's like little else out there.
Rosenboom uses more corporeal beats on 'Corona Dance', offsetting metallic synth blips and fanfares with hypnotically shifting hand drum patterns and claps, and on 'Desert Night Touch Down', he enters the matrix, playing Humbert's voice, robotically reciting passages from the text component of 'In the Beginning', against levitational new age-style motifs. Humbert's existential narrations complete the album's concept - she plays "The Double" and two spirits, each of which represents a fragment of some far future cyborg consciousness. And it's these readings that ready us for Rosenboom's concluding experiment 'Nova Wind', an eccentric patchwork of pitch bent improvisations, musichall piano 'n synth duets and rhythmically smashed algorithmic electro-acoustic workouts. To finish the reissue off in fine style, Black Truffle have fleshed it out with an entire additional album of previously unheard live and studio material from the same period, two immense compositions ('Future Travel Patterns' and Future Travel M.U.S.I.C.') that shine further light on Rosenboom's idiosyncratic processes.
Boomkat Product Review:
Oren Ambarchi's Black Truffle handles the first ever reissue of a 1981 oddity from algorithmic music pioneer and long-time Buchla collaborator David Rosenboom. On 'Future Travel', Rosenboom uses the computer-controlled Buchla Touché as a virtual collaborator, prompting the instrument to spit out uncanny jazz, exotica and folk phrases that he bends into digital age cascades of plastick notes and obtuse rhythms. Deranged, brilliant and unbelievably prophetic stuff - essential listening for fans of Nuno Canavarro's 'Plux Quba'.
Before he embarked on 'Future Travel', Rosenboom wrote 'In The Beginning', a suite of compositions for acoustic instruments and synthesizer that outlined his concept of "proportional music" - cognitive musical models (or algorithms) that allowed the composer to use proportional relationships to define harmonic relationships, dynamics, rhythmic subdivisions and melodic shapes. He'd collaborated extensively with Buchla at this stage, having developed concepts for a number of the Buchla 300 Series Electric Music Box's modules, but it was the digital-analogue Touché that would open up the possibilities he needed for his ideas. Rosenboom was tasked with writing the keyboard synthesizer's software, and it's this instrument that's responsible for the meat of 'Future Travel'. With the Touché in hand, Rosenboom was able to code his models in real-time, so he set up shop at Francis Ford Copolla's Zoetrope studio in San Francisco and experimented live, sketching out ideas based on his loose 'In The Beginning' concept and later adding acoustic instrumentation and vocals from his regular collaborator (and sometime partner) Jacqueline Humbert.
The result is an album that takes a wrecking ball to notions of high and low culture, predicting in some way an oncoming deluge of genre-agnostic electronic music that'd be as likely to take its melodic pointers from TV themes or radio pop as it would snatch elements from the established pillars of good taste. On opening track 'Station Oaxaca', Rosenboom's ideas are outstretched visibly; it's mind-bogglingly complex on a compositional and technical level, but he never lets the formalism of the avant-garde get the better of him, mixing up rapid player-piano style synth chatters with slushy romantic themes, newscast sting sound and marimba-laced exotica. The linking thread is the characteristically odd sound of the Touché, that Rosenboom stretches to its limits, using its (at the time) alien sonics to grate against the schmaltzy acoustic instrumentation. And on 'Time Arroyo' he edges further into madness, layering different rhythmic synth phrases that seem to fall in and out of time - it's carnivalesque kosmische music that's like little else out there.
Rosenboom uses more corporeal beats on 'Corona Dance', offsetting metallic synth blips and fanfares with hypnotically shifting hand drum patterns and claps, and on 'Desert Night Touch Down', he enters the matrix, playing Humbert's voice, robotically reciting passages from the text component of 'In the Beginning', against levitational new age-style motifs. Humbert's existential narrations complete the album's concept - she plays "The Double" and two spirits, each of which represents a fragment of some far future cyborg consciousness. And it's these readings that ready us for Rosenboom's concluding experiment 'Nova Wind', an eccentric patchwork of pitch bent improvisations, musichall piano 'n synth duets and rhythmically smashed algorithmic electro-acoustic workouts. To finish the reissue off in fine style, Black Truffle have fleshed it out with an entire additional album of previously unheard live and studio material from the same period, two immense compositions ('Future Travel Patterns' and Future Travel M.U.S.I.C.') that shine further light on Rosenboom's idiosyncratic processes.
Back in stock. First time vinyl reissue, deluxe gatefold 2LP, expanded with previously unreleased material and comes with a 12 page booklet with archival texts and images, plus a download of the album dropped to your account.
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Boomkat Product Review:
Oren Ambarchi's Black Truffle handles the first ever reissue of a 1981 oddity from algorithmic music pioneer and long-time Buchla collaborator David Rosenboom. On 'Future Travel', Rosenboom uses the computer-controlled Buchla Touché as a virtual collaborator, prompting the instrument to spit out uncanny jazz, exotica and folk phrases that he bends into digital age cascades of plastick notes and obtuse rhythms. Deranged, brilliant and unbelievably prophetic stuff - essential listening for fans of Nuno Canavarro's 'Plux Quba'.
Before he embarked on 'Future Travel', Rosenboom wrote 'In The Beginning', a suite of compositions for acoustic instruments and synthesizer that outlined his concept of "proportional music" - cognitive musical models (or algorithms) that allowed the composer to use proportional relationships to define harmonic relationships, dynamics, rhythmic subdivisions and melodic shapes. He'd collaborated extensively with Buchla at this stage, having developed concepts for a number of the Buchla 300 Series Electric Music Box's modules, but it was the digital-analogue Touché that would open up the possibilities he needed for his ideas. Rosenboom was tasked with writing the keyboard synthesizer's software, and it's this instrument that's responsible for the meat of 'Future Travel'. With the Touché in hand, Rosenboom was able to code his models in real-time, so he set up shop at Francis Ford Copolla's Zoetrope studio in San Francisco and experimented live, sketching out ideas based on his loose 'In The Beginning' concept and later adding acoustic instrumentation and vocals from his regular collaborator (and sometime partner) Jacqueline Humbert.
The result is an album that takes a wrecking ball to notions of high and low culture, predicting in some way an oncoming deluge of genre-agnostic electronic music that'd be as likely to take its melodic pointers from TV themes or radio pop as it would snatch elements from the established pillars of good taste. On opening track 'Station Oaxaca', Rosenboom's ideas are outstretched visibly; it's mind-bogglingly complex on a compositional and technical level, but he never lets the formalism of the avant-garde get the better of him, mixing up rapid player-piano style synth chatters with slushy romantic themes, newscast sting sound and marimba-laced exotica. The linking thread is the characteristically odd sound of the Touché, that Rosenboom stretches to its limits, using its (at the time) alien sonics to grate against the schmaltzy acoustic instrumentation. And on 'Time Arroyo' he edges further into madness, layering different rhythmic synth phrases that seem to fall in and out of time - it's carnivalesque kosmische music that's like little else out there.
Rosenboom uses more corporeal beats on 'Corona Dance', offsetting metallic synth blips and fanfares with hypnotically shifting hand drum patterns and claps, and on 'Desert Night Touch Down', he enters the matrix, playing Humbert's voice, robotically reciting passages from the text component of 'In the Beginning', against levitational new age-style motifs. Humbert's existential narrations complete the album's concept - she plays "The Double" and two spirits, each of which represents a fragment of some far future cyborg consciousness. And it's these readings that ready us for Rosenboom's concluding experiment 'Nova Wind', an eccentric patchwork of pitch bent improvisations, musichall piano 'n synth duets and rhythmically smashed algorithmic electro-acoustic workouts. To finish the reissue off in fine style, Black Truffle have fleshed it out with an entire additional album of previously unheard live and studio material from the same period, two immense compositions ('Future Travel Patterns' and Future Travel M.U.S.I.C.') that shine further light on Rosenboom's idiosyncratic processes.
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