Raster-Noton present the brain-flossing results of Frank Bretschneider's calculated muck-about on the Buchla and Serge modular synths in Stockholm's hallowed EMS facility. 'Sinn + Form', translating to "meaning + form", is the Raster-Noton co-founder's attempt to simulate the "fundamentally chaotic world as we know it" via mathematical and physical theories - dynamical systems, probability theory, stochastic systems - in an extension of humankind's endless endeavour to "recognize this world and to describe, predict, control and change it." To our ears, the results flux wildly between alien cluster-f**k tones, the sort of stuff you'd expect to hear in an early Subotnick side, Florian Hecker's 'Acid In The Style of David Tudor', or the sounds of a burning hopi ear candle; a fizzing, complex chain reaction that practically never repeats the same musical phrase or parameters - pitch, note length, volume, tone - twice in a row. As you're probably aware, a lot of artists are turning to this process right now, but we can confidently say that few of them are producing stuff with such lucid definition, angularity and variation as Bretschneider does here. Highly recommended.
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Raster-Noton present the brain-flossing results of Frank Bretschneider's calculated muck-about on the Buchla and Serge modular synths in Stockholm's hallowed EMS facility. 'Sinn + Form', translating to "meaning + form", is the Raster-Noton co-founder's attempt to simulate the "fundamentally chaotic world as we know it" via mathematical and physical theories - dynamical systems, probability theory, stochastic systems - in an extension of humankind's endless endeavour to "recognize this world and to describe, predict, control and change it." To our ears, the results flux wildly between alien cluster-f**k tones, the sort of stuff you'd expect to hear in an early Subotnick side, Florian Hecker's 'Acid In The Style of David Tudor', or the sounds of a burning hopi ear candle; a fizzing, complex chain reaction that practically never repeats the same musical phrase or parameters - pitch, note length, volume, tone - twice in a row. As you're probably aware, a lot of artists are turning to this process right now, but we can confidently say that few of them are producing stuff with such lucid definition, angularity and variation as Bretschneider does here. Highly recommended.
Raster-Noton present the brain-flossing results of Frank Bretschneider's calculated muck-about on the Buchla and Serge modular synths in Stockholm's hallowed EMS facility. 'Sinn + Form', translating to "meaning + form", is the Raster-Noton co-founder's attempt to simulate the "fundamentally chaotic world as we know it" via mathematical and physical theories - dynamical systems, probability theory, stochastic systems - in an extension of humankind's endless endeavour to "recognize this world and to describe, predict, control and change it." To our ears, the results flux wildly between alien cluster-f**k tones, the sort of stuff you'd expect to hear in an early Subotnick side, Florian Hecker's 'Acid In The Style of David Tudor', or the sounds of a burning hopi ear candle; a fizzing, complex chain reaction that practically never repeats the same musical phrase or parameters - pitch, note length, volume, tone - twice in a row. As you're probably aware, a lot of artists are turning to this process right now, but we can confidently say that few of them are producing stuff with such lucid definition, angularity and variation as Bretschneider does here. Highly recommended.
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Raster-Noton present the brain-flossing results of Frank Bretschneider's calculated muck-about on the Buchla and Serge modular synths in Stockholm's hallowed EMS facility. 'Sinn + Form', translating to "meaning + form", is the Raster-Noton co-founder's attempt to simulate the "fundamentally chaotic world as we know it" via mathematical and physical theories - dynamical systems, probability theory, stochastic systems - in an extension of humankind's endless endeavour to "recognize this world and to describe, predict, control and change it." To our ears, the results flux wildly between alien cluster-f**k tones, the sort of stuff you'd expect to hear in an early Subotnick side, Florian Hecker's 'Acid In The Style of David Tudor', or the sounds of a burning hopi ear candle; a fizzing, complex chain reaction that practically never repeats the same musical phrase or parameters - pitch, note length, volume, tone - twice in a row. As you're probably aware, a lot of artists are turning to this process right now, but we can confidently say that few of them are producing stuff with such lucid definition, angularity and variation as Bretschneider does here. Highly recommended.