FLD RCDR CD (E219)
MCRTNL CD (E220)
Digital versions of both albums
are available from noyzelab
David Burraston is an award-winning artist/scientist working in
the areas of technology and electronic music since the late 1970s.
His experimental arts practice encompasses field recording,
landscape-scale sound art, chaos/complexity, sound synthesis
and electronic music. He performs, lectures, conducts workshops
and creates art installations in Regional NSW and around the
world. David also designs and builds sound synthesizers based
on his theories of chaos/complexity. In 2014 he independently
published the legendary SYROBONKERS!, the most technical
and in-depth interview ever given by Aphex Twin.
1. FLD RCRDST::On Walden Snow
2. CPM DRNL
3. Lindisfarne Refuge Hut
4. FLD RCRDST::FM80PcellorgNSW
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.
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
Limited edition of 200 copies each
Out of print
“Mesmerising, bizarre and sometimes troubling.”—The Wire
Photo by Richard D. James
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 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 RCDRST::On Walden Snow and the 20-minute
FLD RCDRST::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
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.
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 hard-
ware 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”.
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.