Sunday, 19 November 2017

NYZ – XNOTNL : Ltd Tape on Tapeworm

Cassette only – limited edition of 100 copies – shipping in December
Pre-order in the TouchShop

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

A1: FM60Pcelltwonky
A2: NYZ-1_HI-TINEZ4
A3: FM60Pcelltwinky::welcome2myworld
A4: NYZ-1_FM40Psubtree
A5: NYZ-1_HI-TINEZ3
A6: FM60POrvPyt
A7: NYZ-1_LTDRN
A8: NYZ-1_QVtwungler
A9: NYZ-1_LTDRN2
B1: MTNAM_8_SRi::OrganDonor
B2: FM40Pacidfractionalnote
B3: FM40Pcelltwerkle::welcome2myworld
B4: NYZ-1_HI-TINEZ
B5: NYZ-1_HI-TINEZ2
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.

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.



MODULAR MORTGAGE OR HOW TO GET INTO MODULAR SYNTHESIS WITHOUT GOING BROKE

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
EMS VCS3
& 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 =>

http://www.dpamicrophones.com/mic-university/principles-of-the-ms-stereo-technique
http://www.dpamicrophones.com/mic-university/principles-of-the-double-ms-technique
http://www.dpamicrophones.com/mic-university
http://www.schoeps.de/en/products/categories/menue-surround
http://www.radio.uqam.ca/ambisonic/
https://en.wikipedia.org/wiki/Ambisonics
http://www.ambisonic.net/
https://ambisonic.info/index.html

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.

SPURN POINT =>





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
entracte.co.uk/projects/nyz-e219e220/
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
entracte.co.uk/projects/nyz-e219e220/
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!


Reviews


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! 

boomkat.com/products/fld-rcdr

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! 

boomkat.com/products/mcrtnl 

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