My latest excursions in ambient and meditative drone music, named after an unofficial CD-R release from 2005. Two ethereal textured loops and stochastically driven tree tones, utilizing an instrument designed by Dillon Bastan with Max For Live.
Today, November 15, marks my tenth anniversary on Bandcamp. In celebration of the past decade I offer you the full length versions of my first two releases; “Quiescence” and “Deity Reign“. Originally released as 26-minute versions due to Bandcamp’s file size limitations at the time for new artists, now available in their full 73-minute glory.
In addition to this, you can use the code ‘AS10’ for a 10% discount for the remainder of the month for everything in my discography.
As part of my ten year anniversary on Bandcamp this month, I present an album that predates the platform in concept, though never had a formal release. Dronology was part my analog ambient project in 2007 and consisted of patches that would play throughout the night whilst recording them to MiniDisc during my sleep.
The recordings for the 2020 version of the concept are various takes on composing drone music and include aleatoric composing techniques and signal processing, as well as live improvisation.
I’ve included the five unreleased MiniDisc recordings from 2007 as bonus tracks, with individual cover photos of the original discs.
Spanning the entire month of June, I have made at least one recording per day. I have set this goal to increase my productivity as I was feeling I was not recording as much as I would like to. This album is curated from 95 recordings, some of them different takes on the same concept or different versions of the same recording, resulting in 14 tracks that clock in at 54 minutes total.
On average, the track lengths are shorter than most of my work in recent years, which makes the album feel more like a story unfolding, expressively narrated in my own musical language.
A year after setting up my smaller studio, I’ve settled in quite nicely and try to be as prolific as I can, continuing my quarterly releases per project. The name of the studio derives from the chemical formula of the name of the street we live on, which is named after a form of quartz. At its core, the studio is still based around a set of analog synthesizers and sequencers with a touch of digital synthesis and signal processing, but it’s less expandable due to its spatial limitations. Despite these limitations, I try to broaden my horizon by adding more diverse elements and exploring non-western scales, as can be heard on this album.