Cusp Editions, a promising and uncompromising new label from Salford's Islington MIll, comes to life with a mind-flossing microtonal, electro-acoustic suite by Cologne's esteemed improvisor Luka Höfler a.k.a. Lu Katavist. 'Inburst' blurs the lines between improvisation and automatic composition, using the 'Haken Continuum Fingerboard' - a haptically sensitive controller/synthesiser - coupled with Katavist's own analog modular system to navigate the strange timbres availed in xenharmonic scales: essentially sounds that fall outside the common 12-tone equal temperament, which is sadly all too familiar to most western ears. The album runs to seven pieces, ranging from bittersweet, chamber like movements mimicking alien instrumentation à la Rashad Becker's notional species, thru to surreal 11 minute topographies meshing curdled sine tones and bilious white noise with sub-liminal undertones. The variation between pieces is engaging and dynamic, sometimes uncannily emotive, and at others wickedly weird, and in the best sense, managing to coax out and reveal the ever-fluctuating thoughts and feelings of his machines with considered human input.
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Cusp Editions, a promising and uncompromising new label from Salford's Islington MIll, comes to life with a mind-flossing microtonal, electro-acoustic suite by Cologne's esteemed improvisor Luka Höfler a.k.a. Lu Katavist. 'Inburst' blurs the lines between improvisation and automatic composition, using the 'Haken Continuum Fingerboard' - a haptically sensitive controller/synthesiser - coupled with Katavist's own analog modular system to navigate the strange timbres availed in xenharmonic scales: essentially sounds that fall outside the common 12-tone equal temperament, which is sadly all too familiar to most western ears. The album runs to seven pieces, ranging from bittersweet, chamber like movements mimicking alien instrumentation à la Rashad Becker's notional species, thru to surreal 11 minute topographies meshing curdled sine tones and bilious white noise with sub-liminal undertones. The variation between pieces is engaging and dynamic, sometimes uncannily emotive, and at others wickedly weird, and in the best sense, managing to coax out and reveal the ever-fluctuating thoughts and feelings of his machines with considered human input.
Cusp Editions, a promising and uncompromising new label from Salford's Islington MIll, comes to life with a mind-flossing microtonal, electro-acoustic suite by Cologne's esteemed improvisor Luka Höfler a.k.a. Lu Katavist. 'Inburst' blurs the lines between improvisation and automatic composition, using the 'Haken Continuum Fingerboard' - a haptically sensitive controller/synthesiser - coupled with Katavist's own analog modular system to navigate the strange timbres availed in xenharmonic scales: essentially sounds that fall outside the common 12-tone equal temperament, which is sadly all too familiar to most western ears. The album runs to seven pieces, ranging from bittersweet, chamber like movements mimicking alien instrumentation à la Rashad Becker's notional species, thru to surreal 11 minute topographies meshing curdled sine tones and bilious white noise with sub-liminal undertones. The variation between pieces is engaging and dynamic, sometimes uncannily emotive, and at others wickedly weird, and in the best sense, managing to coax out and reveal the ever-fluctuating thoughts and feelings of his machines with considered human input.
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Cusp Editions, a promising and uncompromising new label from Salford's Islington MIll, comes to life with a mind-flossing microtonal, electro-acoustic suite by Cologne's esteemed improvisor Luka Höfler a.k.a. Lu Katavist. 'Inburst' blurs the lines between improvisation and automatic composition, using the 'Haken Continuum Fingerboard' - a haptically sensitive controller/synthesiser - coupled with Katavist's own analog modular system to navigate the strange timbres availed in xenharmonic scales: essentially sounds that fall outside the common 12-tone equal temperament, which is sadly all too familiar to most western ears. The album runs to seven pieces, ranging from bittersweet, chamber like movements mimicking alien instrumentation à la Rashad Becker's notional species, thru to surreal 11 minute topographies meshing curdled sine tones and bilious white noise with sub-liminal undertones. The variation between pieces is engaging and dynamic, sometimes uncannily emotive, and at others wickedly weird, and in the best sense, managing to coax out and reveal the ever-fluctuating thoughts and feelings of his machines with considered human input.