Data Cult Audio

Mike Dobler abandoned the computer music in 2006 in favor of live tabletop electronics, recently focusing on modular synthesizer. He maintains an audio journal of live recordings onto 90-minute tape cassettes, currently 160 tapes deep. Mike Dobler has performed with modular synthesizer, including sets for Modular on the Spot, Moogfest, and Dublab. His style is a chaotic holy mess and he does not do sound healing. Website: mikedobler.com Live Sets: soundcloud.com/mikedobler Tapes/Albums: mikedobler.bandcamp.com Buy This: www.fattgrabbers.com/product/fg022-mike-dobler/ About the track: Recorded 2017-6-24 exclusively for Data Cult Audio Extended alternate version of the Hondasyn patch, featured on album MASTERPSYN Items used: phonogene sheep peaks piston honda dirt

Eusebie, aka SunFalls is a PDX based electronic musician. Composing, performing, writing and collaborating up and down the west coast since 2001. From noise cello improv for butoh theatre to experimental ableton sets and merging into eurorack synthesis in 2013. He has been a recurring solo and collaborative performer at Volt Divers, the Sonic Lodge performance series, Modular on the Spot(pdx), and most recently Binary Society, with a stacked lineup featuring some of the most talented modular synthesists across the country for opening day of the 10th Annual SubZERO Festival in the SoFA District of Downtown San Jose. “SunFalls will guide you toward an alien realm of metallic sound structures that fracture into a world of kaleidoscopic colors. Let its electric jolts prod the listener’s cerebral cortex. Embrace this paradox, shed the blankets of easy comfort, and find your own warmth in SunFalls icy space-scape.” -Robert Ham of Experimental Portland. Current Album out on tape now. Hard copies available. https://sunfalls.bandcamp.com/album/dreamminus http://sunfalls.org/ http://bit.ly/epdxreview Works at & Sponsored by Control Voltage http://controlvoltage.net/

Campfire’s Edge is the electronic music project of Hudson Valley, NY artist Nathan M. Yeager. Nathan's lifelong devotion to music is defined by his skills as a unique multi-instrumentalist; playing modular synthesizer, keyboard, guitar, homemade electronics, and whatever comes next in the evolution of music. He sees his current work as scores to short films yet to be realized. The music featured here is the result of 2 improvisational sessions layered on top of each other; and was created exclusively for the Data Cult Podcast. This piece features Eurorack Modular Synthesizer, Roland Juno 106, Moog Prodigy, Nord Lead 2x and Granular processing. Campfire’s Edge's debut EP “The Last Lighthouse” will be released August, 2017 on BlueHill. More information can be found at the following links: http://www.campfiresedge.com/ http://www.facebook.com/campfiresedge http://campfiresedge.bandcamp.com

Saturday 07/22/2017 Data Cult Audio presents James Cigler. You can catch it on iTunes or SoundCloud as Data Cult Audio or catch us on the web at http://datacultaudio.com About: After years of trying to find more interesting guitar sounds, James Cigler discovered synthesizers, and eventually modular synthesizers, and the now decade-long obsession began. James is probably most well known for his modular demonstration videos on youtube, but over the last few years he’s focused on more performances and capturing his sonic explorations. Last year saw the release of the ‘People’s Temple’ trilogy, under the moniker Jim Drones. With these new pieces, and new video projects in production, James shows no signs of slowing down. https://jimdrones.bandcamp.com https://www.youtube.com/jamescigler

Brad is known throughout the modular community as the owner of Glow Worm Cables LLC, maker of cool, multicolored, glow-in-in-the-dark patch cables. He is based out of Muscle Shoals, Alabama, a town known for its unique musical history. Brad has just released his album Zero Zero One on Nebula Collection available on cassette and digitally. Find out more about Brad and Glow Worm cables from the links below. https://www.glowwormcables.com/ http://instagram.com/glowwormcables https://nebulacollection.bandcamp.com/album/zero-zero-one

Void Manes plays gloom-psych, and has collaborated with the Melvins, Hepa-Titus, and Mike Patton. Forthcoming releases include a collaborative album with the Melvins paying tribute to Throbbing Gristle, and a split LP with ear moviemaker Christoph Heemann. Bad vibes guaranteed. http://voidmanes.bandcamp.com http://facebook.com/voidmanes

Jeremiah M Carter is a multi-instrumentalist experimental artist that comfortably weaves between ambience and power electronics. J. Carter is a part of multiple projects based out of Nashville, TN, such as the post-punk outfit Brothers, and is the co-curator of the eclectic label Fraternity As Vanity. J. Carter's first release was out on Fraternity As Vanity on June 19th.

Kurt Kurasaki is an electronic music composer based in Northern California. While his preferred instruments are the vintage Buchla Music Easel and Buchla 200/200e system, he is versed in wide array of synthesizers and electronic composition techniques. Kurt’s professional associations include work with notable music companies such as Dave Smith Instruments, Rossum Electro-Music, and Propellerhead Software. Recently he has focused his efforts into producing and recording experimental works that incorporate modular synthesizers and prepared tape materials. The piece presented here is a live recording at the “Modular On The Spot” event held during Moogfest on May 21, 2017 in Durham, North Carolina. The composition, titled Buchla Abstractions for Morphagene, is based on recordings created with Buchla synthesizers, but is performed on a Eurorack system comprised of Rossum Electro-Music, Make Noise, and Audio Damage Modules.

Stop Plate Techtonics is an all-hardware electronic music project in Los Angeles. Inspired by the sounds of 80's and 90's acid house, electro, techno, and breakbeat, SPT keeps the dance floor funky with original beats and bass-heavy synthesis. The project's philosophy places the live-performance of hardware-based synthesizers, drum machines, samplers, and effects at the forefront of its musical composition. This means that each track in this mix was recorded in a single take. SPT plays regularly in Los Angeles and San Diego with the Friends of Friends Network (#FOFN), Acid Varsity, and EMXLA, and they have opened for The Egyptian Lover, Juan Atkins, Neil Landstrumm, and Ramon Bostich's Point Loma project.

Walker Farrell Is part of the Make Noise crew. When he was about 17 Walker composed a piano piece that was based around a chord he had "discovered". This particular chord, when broken out and arpeggiated, had a feeling that was both longing and uplifting simultaneously, a never-ending cadence, an equal temperament Shepard scale. It turned out to be minor-flat-6, though the phrasing was as important as the content. In C it was spelled C, G, Gb, Eb from bottom to top. Two perfect fifths separated by a minor second. It's also notable as the core of the Rachmaninoff Prelude in c# minor, which was a favorite of Walker’s at that time. Repeated, transposed, or reiterated in successively higher octaves, it had, for him, a sense of endless reaching. (It could also be spelled as an Ab Major 7th chord, but he always felt the C as the root.)  In this decade Walker has been musically more interested in structural grounding than in goal-oriented results. He makes music without specific results in mind, in two branches: one concerned with the creation of structures within which to improvise, and the other concerned with generative music (music that creates itself). "Green Fiber" is one of his proudest examples of the latter. It is realized on a modular synthesizer, and based on three ideas:  1. The notion that any given "state" of the system should follow from the previous state, and should lay the grounds for the next state.  2. The oxymoronic or perhaps redundant idea of processing an additive oscillator with a frequency-specific resonator; this leads to occasional periods of great intensity when particular frequencies are emphasized twice over.   3. The above-mentioned chord and the feelings it still inspires in him. The sense of "always ending and always beginning" seems appropriate for generative music that cannot have a larger structure imposed upon it.  The piece is played without any input from the performer. In other words the system is the performer. The recording was made without being monitored by a human. On 6/2/17 Walker released a new EP of improvised computer music. Please check it out!