I’m currently working on an Installation that will be presented on the 26th of September at Machine Hall in Sydney. The event is called “Elysian”. I’ve sent over the references to the visual artist I’m collaborating with for it, Kevin Nguyen.

I’m now in the process of building a big foundation of music, which I’m going to send over to Kevin by the end of the week. It will be good to have this all as a framework to then build new material on top of. I want to play with some generative music approaches to create that material—a bunch of randomness and unpredictability on top of more stable material. Bitwig will be great for that. I’ll record long takes from a generative system built in Bitwig’s ‘The Grid’, and isolate the useable parts to work into the foundation.

At times, I want the generative material to be the sole focus, and at other times, I want it to sit behind or embedded within the foundation layers. I want there to be a decent flow to the music, but also areas where the focus does shift between different types of material. In other words, I want there to be a kind of contrast between different sections. I want this contrast to be in the types of sounds used—presenting textural and atmospheric materials, and then more pulsatile and transient ones. Sort of like a mix between the Hypnus Records sound and Ryoji Ikeda’s approach to minimal-glitch (but no one can do it as good as Ikeda—he’s just an example of someone who nails the installation approach. It almost feels cliche to reference his work, but there’s no denying how good it is).