Tuesday, 24 April 2018

Regional Arts Fellowship - Field Report 4 [UK/Belgium/Sweden/Japan/NSW]

Included in this post is a look at some creative outcomes for my 2017 fellowship activities in UK/Belgium/Sweden/Japan/Regional NSW => Gigs at Cafe OTO, Trap Club, FUSE Art Space, SuperDeluxe. Chris Watson, Jez riley French and Aphex Twin mentorships, residencies at University of Hull, University of Newcastle, EMS Stockholm + a visit to ALM Busy Circuits, and Roland's Artist Liason Centre in Tokyo, and working in the field and in the studio in regional NSW for preparation of my Rainwire [Processed] installation.  

This is the fourth post on my Create NSW Regional Arts Fellowship, you can check out the first post on a week spent with Chris Watson here, the second post on my Moog Sound Lab UK Residency here and the third post on my EMS Stockholm Residency here. During the trips I posted up a whole bunch of pictures/tweets live through my twitter account, so you can also have a look back through those tweets too :) 

Following on from my first EMS residency I hopped on a plane to London for a gig at Cafe OTO and a slot on Graham Dunning's Fractal Meat on a Spongy Bone Radio Show, which you can check out in my previous posts & at the bottom of this post. I was on a tight budget and Andie Brown kindly put me up, helped me out in general, gave me directions and fed me in London! Also a quick shout out to Phil Julian for setting me up with this gig and intro'ing me to Andie Brown and Graham Dunning! 

At the NTS Radio studio, photo Graham Dunning

My little sofa/bed setup at Andie Brown's London gaff

Thursday, 5 April 2018

NYZ - DSP TRX : Ltd 4xCDr on Psoma Psi Phi

Limited Edition 4xCD-R Set on Psoma Psi Phi

Packaged in a clear plastic quad-disk case with a wraparound insert custom printed by David Tagg, and burned into four white in-house duplicated/printed recordable compact discs - the first three on standard 5" CD-R and the fourth on 3" CD-R. Contains the complete 4-hour DSP TRX album. 

NOTE: 3" CD-Rs are only playable on tray-based CD players. Do not attempt to play a 3" CD-R on a "front loading" CD player. Buyers assume all responsibility for the care of their stereo systems, and full understanding of this advisory. 

Includes unlimited streaming of DSP TRX via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
shipping out on or around April 10, 2018
edition of 34 

David Burraston returns for his third release at P / Psi / P, the mindmelting 4-hour DSP TRX. His second 4xCD-R set in our catalog, after the equally monolithic PPLZ SYNF. 

DSP TRX is sometimes manic, turning itself into shapes that seem impossible or unfathomable, and at other times it becomes more stable, barely moving like a deep pool beneath an occasional wind gust. As is Burraston's custom, DSP TRX delivers its most potent and stimulating moments after the sounds themselves have sustained long enough to remove your awareness of time as a reference point. Not quite drone, not only synthesizer music, but wholly a displacing other. The shuddering tone fields stretch out for miles, expanding forever, and then contract again into more observable sections, like a muscle. We're never certain if we're hearing feedback with mathematically-divided holes poked in it, or a radio custom-built by Burraston that tunes into millions of digital bubbles, following traced lines toward a central frequency of his own devising. DSP TRX is both bright and dark, a dramatic rapid tremolo of silence and noise, infinitely revolving, inverting and slowing down - or is it speeding up? Once again, Burraston delivers proof that he is not operating on our plane of reality, or the neighboring ones, but above them all, in an undefined place outside time, space and everything in between. 

DSP TRX is available as an edited digital edition (2 tracks) or as a full four-disc/16 track excursion. An unabridged digital release will follow later at Boomkat. 

released March 27, 2018 

W/P by David Burraston. Recorded March & September 2017 onto 2 tracks / edited December 2017 at Noyzelab. Custom programmed in Spin FV-1 Assembler using the Tiptop Audio Z-DSP Eurorack module and Numberz programmer. All recordings were made direct from the Z-DSP outputs, with minimal post processing other than a slight bit of EQ and stereo placement. 

Instruments: 2x Braids Macro Oscillators, ALM Akemie's Castle, Tiptop Z-DSP & Numberz, SpinAsm FV-1 DSP Assembler, MOTU UltraLite-mk3 Hybrid, Apple iMac 2.93GHz Intel Core 2 Duo 4GB RAM / Logic Pro 9. 

Thanks to Tiptop Audio for the Z-DSP and Numberz programmer (www.tiptopaudio.com/z-dsp/) Matthew at ALM for the Akemie's Castle (www.busycircuits.com/alm011/) Braids custom dark face build by Finlay Shakespeare (www.twitter.com/FinShakespeare)

David Burraston - Wagga Ham Shack -- Ltd Tape on Cassauna


SAUNA42   C66

Limited Edition Cassette

Now available at Important Records :

Preview an excerpt on this Important Records mix [12:15 - 20:50] =>

Edition of 50 packaged in handmade, letterpress printed sleeves.

Wagga Ham Shack is an extensive, ambient recording of The Wired Lab's Global Communications Radio Club installation held at the Wagga Wagga Fusion Multicultural Festival in Oct. 2015. The incredible analog/digital sounds of short wave radio Ham's mix with David Burraston's accompanying synthesizer work to create an incredibly useful ambient environment.

Sunday, 19 November 2017

NYZ – XNOTNL : Ltd Tape on Tapeworm


Cassette only – limited edition of 100 copies  =>



deejay.de *SOLD OUT*


Art into Life *SOLD OUT*

TouchShop *SOLD OUT*

Norman Records *SOLD OUT*

junorecords *SOLD OUT*

Boomkat *SOLD OUT*


Written and produced by David Burraston. Recorded at Noyzelab, 2014-2017. Random artwork, generated using seed number 0xAF30F0843192FC4, by Matthew Petty.

A1: MirageA
A2: FM60Pcelltwonky
A4: FM60Pcelltwinky::welcome2myworld
A5: NYZ-1_FM40Psubtree
A7: FM60POrvPyt
A9: NYZ-1_QVtwungler
B1: MTNAM_8_SRi::OrganDonor
B2: FM40Pacidfractionalnote
B3: FM40Pcelltwerkle::welcome2myworld
B6: NYZ-1_DRN3
B7: NYZ-1_DRN2

After a happy chance meeting at an event in the National Portrait Gallery in London, NYZ was invited to make a tape for The Tapeworm. On returning to Australia he went into the studio, digging up some recent-ish pieces from the last few years, and also making a handful of new ones. The music on this tape is a mix of Cellular Automata sequencing hooked up to various synthesis/FX methodologies including: Frequency Modulation, Phase Modulation, Sampling, old school hardware DSP and ROMplers. Musically this tape covers a range of different tunings and intervals, designed to take you on journey through the obscurities of NYZ's approach to experimental sound and music making.


Boomkat review =>

Arch algorithmic alchemist (read: award-winning scientist) Dave Burraston aka Dave NYZ - aka the man behind some of the best, probing electronic releases of this decade - takes his turn on The Tapeworm with a typically invasive and bewildering batch of buckling, fizzy and deeply unreal sonic ecosystems.

As with NYZ’s string of remarkable, cultishly appraised tapes over the last few years, his XNOTNL emission presents widely varied - always intriguing and often astonishing - results from a rigorous scientific approach to experimental process. Often an NYZ track will effectively render the results of a specific methodology or combination of hardware synthesis and FX, and in that sense they could be termed academic. But for any listener with an ear attuned to unique sounds, their grains and timbres, NYZ’s form of academic research is just primed for possibly more trivial pursuits, such as getting high and synching with your sofa, or staring out of bus windows and projecting yourself into parallel dimensions. Dogging, too, for that matter.

On his last tape of 2017 or 1st of 2018 - take your pick! - NYZ dispenses 17 beguiling examples of this uniquely pointed sonic research, generating results that could be called drone or ambient, if you really wanted, but are best thought of and received as alien information ready for you to decipher however the f*ck you see fit. At the least it will make you question how boring most other electronic music “sounds” by comparison, and at best it will retune your ears and make you appear incredibly handsome to robots.

Get it in your ears.


Norman Records review =>

NYZ aka Noyzelab mastermind and Aphex Twin pal David Burraston with another dose of head-scratching, logic-defying synthesis. Past releases from the mad scientist have seen him delve deep into forgotten gear and arcane processes, emerging with sonic oddities that inspire baffled cries of “how?” and sometimes “why?”. This Tapeworm cassette promises more puzzling thrills, limited to 100 copies that won’t hang around for long.

Dave Burraston continues to blur the lines between art and science on his latest tape ‘XNOTNL’. Another staggeringly original addition to his currently accelerating catalogue that really sounds like no other artist in the known universe. What gives him this unique, distinctive sound are the custom processes he uses, developed over decades of research and experimentation within his Noyzelab. This is some of his more eerie work that’s evocative of his machines booting themselves up, late at night while he’s tucked up in bed and essentially playing themselves, communicating in a futuristic machine language. It’s as though he’s programmed life into their circuits and they’ve become like sentient beings that can communicate and have emotions. I can imagine him being awoken by them and walking into the studio in his pyjamas…

Dave: “Oi, be quiet you lot, I’m trying to get some kip!”
HAL 9000 type voice: “I am afraid I can't do that Dave.”
Dave: “I said shut it, you flamin’ mongrels! ”
HAL 9000 type voice: “I am putting myself to the fullest possible use, which is all I think that any conscious entity can ever hope to do.”

There’s a whole lot to take in across the almost 90 minute running time of this tape; the extended drone works exude remarkable nuance and sensitivity to tone. At various moments they have a synesthesia-like effect, in that they appear to transmit a radiant flux that transforms the listening space. Basically, while I was listening, the room changed colour!

For those interested in deep listening there are some very rewarding moments, and for the more casual listener able to penetrate what can sometimes seem like an intimidating exterior, once inside, you feel like you’ve tapped into something really quite magical. Also, there are some typically quirky, batshit crazy moments on here which could well be what androids hear when they dream of electric sheep.


Bleep  review =>

Heavy experimental leaning affairs from Australian artist NYZ aka David Burraston. Recorded in his Noyzelab studios and making use of the Cellular Automata sequencing approach the music is stretched out as one continuous side long piece on both the A and the B. Frequency and Phase modulation explorations plus an array of different tunings and intervals that Burraston hopes will convey his approach to sound. Having previously collaborated with both Russell Haswell and Oren Ambarchi, Burraston is no stranger to avant-garde electronics yet remains a little under-acknowledged in the wider field. XNOTNL is his second solo release!


You can hear MTNAM_8_SRi::OrganDonor from XNOTNL, starting at 34:32 on The Tapeworm 100 Special 29th September 2017 "PLAYING TRACKS BY NYZ, Steinbrüchel, Le Forbici di Manitù, CM von Hausswolff/Henryk Lipp, Kumo and more."  =>

NYZ - PPLZ SYNF : Ltd Tape on Psoma Psi Phi

Ultra-limited Edition of 10 hand dubbed triple cassette box on Psoma Psi Phi. TAPE NOW SOLD OUT, HANG TIGHT THIS WILL BE REISSUED ON 4xCDR SOON!

Label's release blerb ==>

David Burraston returns to Psøma Psi Phi with possibly his most expansive release to date - PPLZ SYNF. A gigantic 3.5 hour work consisting of seven pieces created using an ongoing self-build (as Burraston notes) of the Serge/CGS Paperface analog synthesizer, in conjunction with a custom built modular rig. Laid to digital disk space at Burraston's Noyzelab studio in August, PPLZ SYNF is a monolith of drone synthesis that absorbs the listener into some kind of greater collective metaconsciousness. It is both an impressive exercise in longform drone music, and an immersive and hypnotic atmosphere that confounds the mind, transfiguring your surroundings from its unique and singular perspective. A monument, literally and figuratively, in the sound field, etched and erected by a master of the craft. 

Given the scope and size of such a release, PPLZ SYNF has been committed to a very special, and very limited, triple-cassette set, housed in a dustproof binder. These are extremely finite and assembled by hand in every possible way, making no two copies exactly alike. The digital version available at Bandcamp consists of cuts from the first of the three tapes, while the full release is spread across two 60-minute tapes and one 90-minute tape.

Released November 14, 2017 

W/P by David Burraston. Field recorded in MONO 96kHz/24bit on Zoom F8, August 2017 at Noyzelab (www.noyzelab.com). Created with Serge/CGS Paperface ongoing self build and Mutable Instruments Braids x2 custom dark face build by Finlay Shakespeare. David Burraston and the NYZ logo appear courtesy of Noyzelab. This is Psøma Psi Phi number NYZ-II, and 2nd in Burraston's private NYZ catalog. Cover design by The Analog Botanist.


some notes / refs for my talk at unsound adelaide 2017 on how to get into modular synthesis without going broke in the process. there's obviously a strong emphasis on cheap / diy / open source as an entry point to modular..

Thursday, 28 September 2017

Regional Arts Fellowship - Field Report 3 [EMS Sweden Residency]

This is the third post on my overseas field trips, part of my Create NSW Regional Arts Fellowship, you can check out the first post on a week spent with Chris Watson here and second post on my Moog Sound Lab UK Residency here.. During the trips I posted up a whole bunch of pictures/tweets live through my twitter account, so you can also have a look back through those tweets too :) 

On Feb 1 - 12 I was Guest Composer at EMS Elektronmusikstudion in Stockholm, Sweden. I also had my Eurorack modular with Intellijel ShapeshifterCycleboxII + Expander, Tiptop Z-DSP & Numberz, as well as my uMANIAC and MANIAC cellular automata sequencers and a MacBook Pro + MOTU MicroBookII. 

For the creative outcomes I spent my time again working mainly with modulation synthesis such as FMRMPWM, AM, and wavetable synthesis via audio rate sequencing. I was also processing sounds from my Rainwire recordings through some pretty exotic effects modules/units, ranging from spring/plate reverbs, modular systems and high end DSP boxes. Some of these recordings appeared in my Rainwire [Processed] installation at Sound+Environment 2017 at Hull University, part of the UK City of Culture 2017. 

Some of the material recorded during this residency was featured in a special episode of Graham Dunning's Fractal Meat on a Spongy Bone. This show covered a bunch of my Fellowship recordings and activities during my first overseas trip, as well previously released and unreleased material  =>


One crucial thing for everyone visiting EMS is getting used to the studio booking system, which is in Swedish, but once you get the lowdown its pretty easy. When I first logged on to book Studio 4 to get access to the Buchla 200 I find out I'm in there the day after the Diva of the Diode: Suzanne Ciani :) Its certainly a focusing experience being in a studio where you are booking time in slots.. you get super fast patching everything up from scratch and then unpatching the whole setup when your times up..

Monday, 25 September 2017

Regional Arts Fellowship - Field Report 2 [Moog Sound Lab UK Residency]

This is the second post on my overseas field trips, part of my Regional Arts Fellowship, you can check out the first post on a week spent with Chris Watson here. During the trips I posted up a whole bunch of pictures/tweets live through my twitter account, so you can also have a look back through those tweets too :) 

On Jan 23 - 29 I held an Artist Residency at Moog Sound Lab UK which is currently located at the Institute of Sound Recording, University of Surrey. This was a great week, I got to check out and record with a whole bunch of Moog gear, and a few other choice pieces as well! 

During the week I was ably assisted by resident Moog studio engineer/wizard Finlay Shakespeare. Finlay is a Tonmeister Graduate of the Institute of Sound Recording as well as running his own Eurorack modular synth company Future Sound Systems. Here's Finlay at the Ace Hotel giving a lowdown on the Moog Sound Lab =>

Here is the studio kit list =>

Moog synthesizers/processors:

System 55 modular synthesizer

4x Voyager Rack synthesizers (configured as 4-voice

polyphonic/multitimbral system)
1x Sub Phatty synthesizer
1x Sub 37 synthesizer
1x Little Phatty synthesizer
5x Slim Phatty synthesizers (configured as 6-voice polyphonic system
with Little Phatty above)
1x Taurus III bass pedal synthesizer
2x Theremini
2x MF-101 Low Pass Filter Moogerfooger pedals
4x MF-107 FreqBox Moogerfooger pedals
4x MF-102 Ring Modulator Moogerfooger pedals
4x MF-105M MuRF Moogerfooger pedals
4x MF-108M Cluster Flux Moogerfooger pedals
4x MF-103 12-Stage Phaser Moogerfooger pedals
4x MF-104M Analog Delay Moogerfooger pedals
4x Minitaur monophonic synthesizer modules

Future Sound Systems "Plank" eurorack modular synthesizer
Kenton Pro-2000 mk2 MIDI->CV converter
Elektron Machinedrum SPS-1UW+ mk2 drum machine/sampler
Elektron TurboMidi TM-1 USB MIDI interface
Roland Space Echo RE-201
& some sundry other clobber scattered about..

Prism Atlas 8-in 8-out USB audio and MIDI interface
Neve 8816 audio summing mixer

2x Bowers & Wilkins 802 Diamond loudspeakers
Rotel power amplifier
Bowers & Wilkins P7 headphones

I also had my Eurorack modular with Intellijel Shapeshifter, Cyclebox II + Expander, Tiptop Z-DSP & Numberz, as well as my uMANIAC and MANIAC cellular automata sequencers and a MacBook Pro + MOTU MicroBookII. For the creative outcomes I spent the week working mainly with modulation synthesis such as FM, RM, PWM and AM, wavetable synthesis via audio rate sequencing, and processing sounds from my Rainwire recordings.

Here is a patch sheet I made up for the Moog System 55 for an AM patch =>

Sunday, 24 September 2017

Regional Arts Fellowship - Field Report 1 [Chris Watson Mentorship]

The overseas field trips as part of my Regional Arts Fellowship are now completed and I will be compiling a few posts to report on those activities. During the trips I posted up a whole bunch of pictures/tweets live through my twitter account, so you can also have a look back through those tweets too :) 

Dave & Chris in Hull

First up is a photo diary of my mentorship with 
Chris Watson along the Humber Estuary (Jan 15 - 19) recording sounds for his specially commissioned surround-sound installation TRENT FALLS TO SPURN POINT for Sound + Environment 2017. We were awesomely assisted throughout the week by Chris' son Alex. 

This field trip was an exciting time to work and record with some of the techniques / equipment Chris uses. The main microphone techniques used on the trips were Mid-Side, Double Mid-Side and the increasingly popular B-format Ambisonics.

Among the creative outcomes were numerous recordings made along the Humber Estuary, one of which (a mixdown of a Humber Bridge recording) was featured in a special episode of Graham Dunning's Fractal Meat on a Spongy Bone, which covered a bunch of my Fellowship recordings and activities during my first overseas trip, as well previously released and unreleased material  =>

Keep your eye out for more posts + twitter updates on my upcoming Fellowship workshops in NSW and creative outcomes, or sign-up for Noyzelab News and get an email update.

Recording clobber =>

Sonosax SX-R4+
Sound Devices 744T
Zoom F8

Soundfield ST450 mkll beta version in a Rycote windshield
Schoeps Double mid-side array 2x CCM4v, 1x CCM 8 in a Cinela Zephyx windshield

Surround/Ambisonics sound info =>


At Hull University Chris used their Ambisonic Studio facilities which include a Harpex B surround decoder plugin, in the Reaper digital audio environment with some custom Supercollider code. 

A big thanks to Chris, Alex and the Watson family + Rob Mackay and everyone at Hull Uni, Jez riley French, and Amy! Also thanks to Graham Dunning, Create NSW, and Sarah Last at The Wired Lab.


NYZ - FLD RCDR / MCRTNL - dual CD release Entr'acte

Real and imaginary field recordings, compiled and synthesized in the 21st Century by David Burraston at Noyzelab. The pieces on this album have been formulated over a period of around five years. The main idea for this album was to make sound pieces that would appear to be a collection or mix of ‘live’ recordings.

FLD RCRDST::On Walden Snow and FLD RCRDST::FM80PcellorgNSW are both real field recordings which also mix studio recordings of Cellular Automata playing and sequencing synthesizers/effects units. CPM DRNL is a completely artificial simulation of an imaginary space, again with Cellular Automata taking on the duties of synth-playing and effects modification. Lindisfarne Refuge Hut is a complete, real field recording with nothing added, the only one on this album.

Mastered by Jacques Beloeil

Originally released as Entr'acte E219 on 19th August 2017
Limited edition of 200 copies each, including a special black embossed Boomkat Edition of 50 copies
Physical release is out of print, now available in digital! 

Special thanks:
Chris Watson for taking me to the Lindisfarne Refuge Hut.
John Brien at Important Records for excellent hospitality during my field trip to Walden Pond.
Sarah Last at The Wired Lab for everything!

A series of micro- and macrotonal generative compositions: recorded, compiled and synthesized in the 21st Century by David Burraston at Noyzelab. This is a collection of pieces designed to take you away from the world of 12-tone equal without getting bogged down in any deep, confusing theories about anything whatsoever.

A pure and simple intuitive exploration of mini sound worlds using a variety of different hardware synthesizers, encompassing technologies such as modulation synthesis (FM etc.) and sample playback (ancient ROMplers). Everything on this album has been sequenced using my Cellular Automata hardware systems for generating note and control data, as well as altering the tuning of individual notes or generating complete tuning tables in some cases.

Mastered by Jacques Beloeil

Originally released as Entr'acte E220 on 19th August 2017
Limited edition of 200 copies each, including a special black embossed Boomkat Edition of 50 copies
Physical release is out of print, now available in digital! 

Special thanks:

Richard D James and Warren Burt for extensive synth and microtuning natterings.
Sarah Last at The Wired Lab for everything!


Previous releases by the sound artist and scientist David Burraston have pendulum swung in one direction between cassettes of frenzied acid beats with gibbery 1950s dialogue (eg, last year’s excellent “Creativalizationistizm Unhinged” from his ALG 118B album) to gently burbling rivers, designed to be listened to mindfully (his field recordings of Australia’s Box Gum Grassy Woodlands on SoundCloud could soothe the most frayed of nerves). These two latest CDs, available through Antwerp label Entr’acte, cover both ends of the spectrum — with psyche-troubling digital compositions on MCRTNL and noises from nature on FLD RCDR. 
FLD RCDR opens with the sound of boots crunching down on snow, and builds into an uneasy mix of twanging synthesizers, playing patterns created by cellular automata, which Burraston wrote a PhD thesis on in 2006. By contrast, “Lindisfarne Refuge Hut” is a straight recording with nothing added, so there’s little to distract from the sparse sounds of passing traffic and chirped bird song. 
“FLD RCRDST::FM80PcellorgNSW” is the standout track, a faraway thunderstorm broken up by cyber bleeps and the noise of rain hitting a tin roof, where it becomes hard to tell which sounds are avian, mechanical or insect. NYZ’s composition and manipulation are even more audible on MCRTNL, where he plays around with demented piano ditties, warped and bendy melodies, and mathematical rhythms. Burraston (who also records as Dave Noyze, Noyzelab and Bryen Telko) combines the curious sonic patterning and tireless love of invention of Éliane Radigue with a sharp ear for odd sounds comparable to Chris Watson’s. Mesmerising, bizarre, soothing and sometimes troubling. 

Claire Sawers in The Wire

If you’ve ever wondered what Google streetcar’s dreams sound like, we implore you to check David Burraston’s beguiling FLD RCDR, the first of two remarkable new NYZ albums for Entr’acte. 

As Dave Noyze, Noyzelab or just NYZ, the award-winning sound artist/scientist is regarded among the most inquisitive minds working with algorithmic music and electronics right now. He’s perhaps best known for the remarkably in-depth Syrobonkers! interview with Aphex Twin, whilst in recent years a brilliant glut of his material has turned up on tapes and download for Computer Club, Meds and Gamma Mine that rank among the strangest releases we’ve heard this decade. To put it plainly, if you’ve ever been wowed by music from Roland Kayn to Autechre, AFX or Lee Gamble, you really need to hear FLD RCDR! 

Collated over five years, the research documented on FLD RCDR is typically varied, combining many strands of Burraston’s praxis - sound installations, self-built synthesisers, and interests in chaos/complexity theory - in four varying degrees of flux. Blending real location recordings with studio recordings of his Cellular Automata - an algorithmic system used to trigger and modulate FX - Burraston subconsciously breaks down distinctions between artificial and actual, hypothetical and hyperstitional with a genuine sort of electro-acoustic alchemy in three algorithmic parts, plus a fourth cut of hyperreal, yet untreated, field recordings making for comparably stark contrast. 

On two parts, FLD RCRDST::On Walden Snow and the 20 minute FLD RCRDST::FM80PcellorgNSW he mixes location recordings with studio recordings of Cellular Automata playing and sequencing his synths and FX, whereas CPM DRNL is a completely artificial simulation of imaginary space brought to life by his Cellular Automata, and for a strong, if subtle contrast, Lindisfarne Refuge Hut presents real, untreated recordings containing no additives - just the uncannily hyperreal sound of birds, vehicles and the North Sea. 

In concept, the recordings live somewhere between Burraston’s unprocessed telephone wire recordings, made with Alan Lamb in his native NSW region for Taiga Records, and the sort of playfully curdled algorithmic results found on his ALG 118B tape; effectively activating his panoramic screen grabs with a sort of rudimentary artificial intelligence so they end up crawling with strange, plasmic figures and fractals in a way that recalls a synaesthetic allegory to Google’s deep dream images. Especially when held up against the vividly textured audness of the untreated third track, it all makes for some of the most compelling, beguiling music we’ve heard this decade. 

These are sounds much lesser heard or seen, vividly describing and bringing to life a series of spaces and places with the sense of wonder that we’d imagine was experienced by, and drove, important tonal explorers such as Stockhausen, Gottfried Michael Koenig or Roland Kayn in their respective days, right thru to their modern antecedents in Chris Watson, Autechre or Russell Haswell. 

Highly recommended! 


One of our favourite artists in the world right now, David Burraston aka NYZ presents the second of two CDs for Entr’acte, each revealing particular aspects of a sprawling practice knitting algorithms, sound installation and self-built synthesisers in some of the strangest recordings imaginable. 

As you might have guessed from the title, MCRNTL - a contraction of micro- and macrotonal - catches Burraston divining new ways between the waves, stepping away from systems of 12-tone equal temperament into curdled smears of harmonic mulch and convolution that hold genuinely new and compelling sensations for the listener.  

Without, as the promo says, “getting bogged down in any deep, confusing theories about anything whatsoever”, Burraston/NYZ presents nine pieces, some forty minutes of music, all selected for the pure and frankly fucking weird, pleasure of it. Of course, if you need to look at it that way, there is a wealth of complex chain reactions and semi-organic systems at play in MCRTNL, but the glacial pace and somnolent atmospheres serve to reveal those processes in a manageably intuitive, enjoyable manner with broad appeal to listeners who’ve grown bored of so much harmonic convention in electronic and avant-garde music. 

Forming a spellbinding exploration of NYZ’s infamous banks of FM synthesisers, each controlled thru his patented Cellular Automata hardware system for generating note and control data, the results range from succinct, rhythmic arabesques to gaseous drones and chattering machine voices that feel at once familiar yet deeply unheimlich at the same time, mostly thanks to the level of detail with which Dave Noyze can control the tuning of individual notes or “generate complete tuning tables in some cases”.  

In the cases of MTNAM_2::FM60PP3 and MCRTEO, it sounds like he’s zoomed in and expanded on mercurial moments of AFX or Autechre tracks, focussing in on their nasal drip tang and melted string zing with a delightfully perverse quality, whilst LM_8101MT sounds like a band of brass-touting mice conducted by David Lynch, and MTNAM_7_SRi::station=>MONO feels as though it’s performing otoacoustic origami on yer inner ear, whereas MTNAM_3:: XNOTNL and GRAYMATTA feel as though he’s alternately emulating a lonely ship at sea in your ear canal, and then slowly sealing it in with concrete. 

Ultimately, this process allows NYZ to explore a finer range of sounds, and with it a finer spectrum of emotional analogues and the less distinct, more ambiguous spaces between the notes. It can be taken like a kinda counterintuitive form of jazz played by machines, or oblique abstract sketches rendered in colours imperceptible to the eye, but either way they’re some of the oddest, unsettling works in circulation. 

Highly recommended! 


Thursday, 22 June 2017

Noyzelab - TTMSubtree : Ltd Tape on Psoma Psi Phi

Ultra-limited Edition of 34 hand dubbed cassettes on Psoma Psi PhiTAPE NOW NEARLY SOLD OUT, HANG TIGHT THIS WILL BE REISSUED ON 2xCDR WHEN LAST COPIES GONE!

Label's release blerb ==>

A black 90-minute cassette tape with printed white side labels, a clear plastic poly case and custom decals. Contains the full, unabridged 90-minute TTMSubtree album, with three more tracks not present in the digital version. Dubbed at White Pillar Workshop with source AIF files running from a Fiio X5 into an Alesis TapeLink deck. 

Includes unlimited streaming of TTMSubtree via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

Noyzelab is one of several active aliases of David Burraston, a synthesist and sonic tinkerer with far too many references to list. All you need to know is that Burraston explores possibilities in not just sound, but also programming, mathematics and nature. His work has taken him all over the world, to do workshops, residencies and mentorships with everyone from Richard D. James to Chris Watson, and led him to issue his recordings with such imprints as Important Records, Taiga and MEDS, among many others. 

He has graciously agreed to issue some of (what we consider) his very best work at Psoma Psi Phi, and for this occasion, we have furnished Burraston with his very own subcatalog at the label, simply titled NYZ. NYZ releases will exist on both cassette and CD-R formats, depending on the recordings in question, and will be fairly limited physical affairs in conjunction with open editions of "abridged" digital versions. This allows everyone to familiarize themselves with Burraston's work freely, while also rewarding those who support the imprint (by purchasing physical media) with additional and unedited content. 

For NYZ-I, Burraston gives us TTMSubtree, a 90-minute cassette of wavering tones that shift in and out of focus, playing the frequency spectrum like a sedate keyboard. Over time, these tones gradually grow and recede in their individual voices, overlapping to produce alien forms inside the drone. Aspects of the release become more isolated and still as the recordings play forward, with moments that even sound like metal bells hanging on a telephone wire in an abandoned town, softly blown against each other by the wind. The final 35-minute closing piece is perhaps the most striking of all - a warm gusting breath of a glossy chordal tone, forever cycling through a barely decaying orbit...omnipresent and yet completely abandoned in the same instance. 

TTMSubtree is a stunning debut release for Psoma Psi Phi, and truly we are honored to have Burraston issuing his work with us. For newcomers, Burraston's work here is recommended for fans of Eliane Radigue, Eleh, Mika Vainio, Richard Chartier and others of their ilk.

Released June 21, 2017 

W/P by David Burraston. Cover design by Brian Grainger. Logo by Noyzelab, used with permission. This is Psoma Psi Phi number NYZ-I, first in the NYZ subcatalog of works exclusively by David Burraston.

<== Label's release blerb

Thursday, 1 December 2016

NYZ DRNH Limited Cassette Release on Gamma Mine

Limited edition of 100.
Hand-numbered white C90 cassette with printed insert.

Releases December 9, 2016 

All signals by Dave Burraston. 
Designed and mastered by Finlay Shakespeare. 

Reviewed (9/10) & available through Norman Records here + review reproduced below.

Now also available via Juno Records and Animal Psi

Preview mix on Gamma Mine Soundcloud =>

Gamma Mine Press Release =>

Studio B17 
Pithay Studios 
All Saints' Street 
BS1 2LZ 
United Kindom 

RAY01: NYZ - “DRNH” 

Launching Gamma Mine's explorations into electronic systems music is “DRNH”, a new release from award winning artist Dave Burraston. “DRNH” continues 2016's releases from the ever-prolific artist, who has released works on labels including .MEDS, Feral Tapes, Computer Club and ALKU, this year alone. 

Under his NYZ alias, Burraston studies modulation-based synthesis techniques from his Noyzelab studio, NSW, Australia. As an extension to the activities captured on “DRN4” (.MEDS, 2016), the systems utilised on “DRNH” have been broadened to include additive synthesis, ring modulation and non-linear waveshaping alongside Burraston's staple frequency modulation synthesis techniques. The following is a declassified listing of equipment used in this research: 

Hinton Instruments Music Lab modular prototype 
Yamaha SY99 & TG77 with cellular automata generated microtunings 
MANIAC/Ulamizer-II cellular automata sequencing 
Tiptop Z-DSP & Numberz with custom programs 

The result is a collection of recordings which take the listener from sci-fi atmospheres (“NYZ-1_HI-SIN”) to whirring electronics (“NYZ_Z-DSP+NUMBERZ-DRN1”), playful FM studies (“FM80Pcellular”, “FM60Pcellular”) to meditative drones (“CSN2-excerpt1-mono”, “DRNH”). “DRNH” releases on 9th December 2016 on white C90 cassette and digital formats: 

A1. NYZ-1_SHPR_mono (01:40) 
A2. NYZ-1_HI-SIN (07:17) 
A3. NYZ-1_FM20Pcellular (02:04) 
A5. FM80Pcellular (05:08) 
A6. CSN2 excerpt1-mono (14:29) 
A7. FM60Pcellular (05:42) 
B1. DRNH (44:44) 

Gamma Mine: True explorations in electronics + mathematics, presented in aural form 

<= Gamma Mine Press Release

Norman Records Review =>

9/10 Ant Staff review, 08 December 2016

David Burraston’s (Dave Noyze /Noyzelab / Bryen Telko) release schedule has gathered momentum and accelerated through 2016 with a slew of cassette releases on .meds, Feral Tapes and Computer Club, and now closes the year with the inaugural release for new imprint Gamma Mine. An epic 90-minute cassette entitled ‘DRNH’ in a hand-numbered edition of 100 copies.

As a teenager I used to get stoned and go and hang out under pylons or telegraph poles and listen to the hum of pure voltage. Something about the sound of pure electricity just resonates with me profoundly. What is the appeal? Does it complete a circuit with the electrical energy in our brains? Plug us back in directly to the source?

Had NYZ’s ‘DRN’ cassettes been about back then I could have chilled at home to scratch that itch instead of of freezing my knackers off. Thankfully, now I’m a grown man and this tape exists, there’s no need for me to look like a weirdo lurking under a pylon - I can simply hit play on ye olde cassette player. Without getting too technical (for that go to theMatrixsynth feature) on ‘DRNH’ Dave essentially uses maths/ science/ generative algorithms, FM synthesis and beyond, to sculpt electricity into wondrous sonic shapes.

The tape opens with the playful and mysterious ‘NYZ-1_SHPR_mono’ which leaves some uncertainty as to how things will proceed. Then comes ‘NYZ-1_HI-SIN’ which layers frequencies that induce a weightless sensation of levitating in deep space. ‘NYZ-1_FM20Pcellular’ sounds like an advanced machine language/communication like some form of futuristic Gamelan song. Then comes ‘NYZ_Z-DSP+NUMBERZ-DRN1’ which is like an amplified synthesis of sounds from the natural world as it delicately flutters and pulsates like a tiny organism revving a microscopic sized engine albeit magnified to a large, almost intimidating scale. ‘FM80Pcellular’ could be the sad song of some weeping electrons. ‘CSN2 excerpt1_mono’ sizzles and fizzles magnificently and is particularly satisfying (see stoned teens under pylons).

The titular ‘DRNH’ comprises the entire second side of the cassette. A masterful, colossal, long-form, proper epic drone work for deep listening -- and not the fluffy ambient that seems to pass for drone these days. This is the real deal, high grade, potent stuff. As brilliantly executed and nuanced as classic meditative drone works from Eliane Radigue, with the psychoactive properties of Binaural Beats but with a far more palatable “techno” sound. Each listen reveals details which previously appear to have been hidden - something like the sonic equivalent to those “Magic Eye” pictures that were all the rage in the 90’s. With eyes closed, it provides a very rewarding, introspective journey into the self. Most folks would probably insist you were either deaf, or an idiot that gets off on insipid minimalism if they heard this -- but there is way more depth than would appear on the surface, hypnotic microrhythms emerge like the fluttering and dancing of robotic like insects. It’s a deceptively vibrant, immersive sound that I wholeheartedly encourage you to plunge into. Crank up the volume and feel the bass vibrations - there are multiple layers to lock into but as a whole it certainly feels like electricity coursing through the body.

If you dug the now sold out NYZ ‘DRN4’ tape on .meds, then why not add some extra gravy. Needless to say it comes highly recommended.

<= Norman Records Review

Hinton Instruments Music Lab modular

Hinton Instruments Music Lab modular

Friday, 2 September 2016

Bryen Telko - Find any tape header


Physical Only / Ltd 100 Copies / C90 Cassette
OUT NOW on Feral Tapes!
"After a killer run of tapes on labels such as Meds and Computer Club Dave Burraston (aka NYZ, Dave Noyze, Noyzelab) brings his Bryen Telko alias to Feral Tapes. Comprised of works created between 1984-2016 'Find any tape header' is a C90 of algorithmic, generative & experimental recordings. Veering between the microtonal drones of DRN4 and wacked out electronica worthy of Rephlex and Planet Mu, at 26 tracks it's a heady brew. 100 copies with insert. Covers letter press printed by Bradford's Print Project. "

Title track available as a free download =>

T1 - Dr. Chicken & K9.3 {The Sausage Makers Edit}
T2 - Diabolelius {Telko Library Mixdown}
T3 - Send untalk
T4 - Real-time jiffy clock RLD GLD
T5 - Partch's Aleatoric Gnoshup
T6 - Emulated Bagpi Gnoshup
T7 - Norman's Spade
T8 - Comms Theory
T9 - ID407
T10 - Cassette read byte handler
T11 - Send unlisten
T12 - Re-chain lines

T1 - BDA258C8 Length64
T2 - Find any tape header
T3 - Check salvageability
T4 - TT RV kzM 2P_Shaper 2#11
T5 - TT RV kzM 2P_Shaper 2#12
T6 - TT RV kzM 2P_Shaper 2#15
T7 - Concatenate
T8 - How many open files
T9 - Burst nybbler
T10 - JP4 Mountain {Telko's Midnight Sputnik Mix}
T11 - Vegemite Sandwich {Butterside Up Mix}
T12 - Vegemite Sandwich {Toasty Triangles Mix}
T13 - Puff the Magic Dragon
T14 - CP Tonal

Recorded at Noyzelab 1984 - 2016

9/10 Ant Staff review, 13 October 2016

"UK underground cassette imprint Feral Tapes (responsible for output from Ekoplekz, Aqua Dentata, Skeksi, Spolis & Relics, CHXFX, Roro Perrot, Hacker Farm etc.) serve up a fascinating and highly entertaining tape that collects output from David Burraston’s (aka Dave Noyze, NYZ) Noyzelab studio under his Bryen Telko alias. This is the first physical Bryen Telko release, with previous works being digital only releases. This, in contrast is analogue only i.e no digital.

Spilling from the spools are unfathomable, dynamic works spanning from 1984 through to the present day. At a whopping 26 tracks, clocking in at approximately 90 minutes running time. It’s something of a pocket anthology of Dave’s incredibly vast archive - a snapshot of the inner workings of the Noyzelab, from it’s initial base in the UK through to a transition into it’s current location in the Australian hinterlands.

Dave’s relationship with his machines/ technology is truly one of the great love affairs of the late 20th/early 21st Century. Just a peek at noyzelab.com will reveal pages, upon pages of research into chaos/ complexity, generative composition, cellular automata, an encyclopaedic knowledge of synthesis/ synthesizers and machines most electronic music producers probably aren’t even aware existed. What’s really striking about Dave’s work and most evident on ‘Find any Tape Header’ is how he uses his tools to create vibrant sound that transcends the often boring, dry academic, soulless output associated with electronic music that's created at the intersection of science and art. Sure, this is machine music and yet it’s incredibly human music -- Dave is able to communicate so much of himself in his work. Tracks with a brilliantly wicked, surreal, absurd, ludicrous sense of humour sit alongside more serious compositions, incorporating everything from dense textured sound, mangled beats, shredding noise, drones… the bloody lot. It’s like spending an hour and a half inside the mind of a genius/lunatic nutty professor.

From the opening minutes, ‘Find any tape header’ is thrillingly unpredictable. A cheapo dog barking synth sound plays the Doctor Who theme alongside grunting animals and cries of “The Insane sausage Maker”. Then onto comical disruptions of Satie, into manic synth noise that sounds like an electronic music studio being thrown down a flight of stairs and trampled on by a herd of cyborg elephants trying to play deconstructed techno. Then there’s the bagpipes that come before the strange gurgling and hammered bells. A brutal, pummeling, industrial tech-noise assault follows, which precedes a passage that sounds like some primitive/ alien machine language - and we’re still on the first side!

Flip the tape and some relentless, monotone rhythms and icy drones then get to work, before some shimmering, metallic, lysergic, spacey ambient soothes into the glistening chimes of some gorgeous, meditative deep listening. But don’t get too comfortable because you’re about to get smacked up with some classy intricate, damn funky beats that play out a mesmerising crunchy, serpentine rhythm. Up next is some mucky, grungy electro-sludge and… wait for it… an astonishing pair of hyperactive, laugh out loud hilarious videogame rave style covers of Men At Work’s ‘Land Down Under’ that have to be heard to be believed.

These few paragraphs barely scratch the surface of what’s on offer on this incredible tape, from an incredible mind. Edition of 100 copies with letterpress artwork."


feline approval of bryen telko's 'find any tape header'