Suche:l automat

Vegan straight edge outfit SECT unites vocalist Chris Colohan (Cursed, Burning Love, Left For Dead), guitarists James Chang (Catharsis, Undying) and Scott Crouse (Earth Crisis, The Path Of Resistance), bassist Steve Hart (Day Of Suffering), and drummer Andy Hurley (Racetraitor, The Damned Things). .

The result is a caustic, riotous, belligerent style of vile hardcore fed by a boundless well of socio-political vitriol. Blood of Beasts was recorded with Kurt Ballou at GodCity Studios and mastered by Alan Douches at West West Side Music.
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"Blood of the Beasts" is ten reflections on the myth of progress, the new old tribalism, the single face of all subjugations, the broken promise of automation, love, loss & obsolescence set against the dying light of a better tomorrow.

Inner space centurion and local star command operative Tommy Walker III returns with a new mission directive this DATE...
Hardwiring to the Red Laser network and initiating an advanced, beta-tested programme of futuro-manctalo cybernetics, TWIII's meta-level hybridisation of Italian synth disco & northern English rave styles, combined with an expert deciphering of modernised club dynamics has resulted in a faultless system capable of withstanding the most extreme sonic test environments. RL30's eight tracks are RL Corp. operation-certified to work alongside Human2.0's electrostatic discharge profile. Universally approved usage for sentient earth dwellers offering portals into dancefloor ecstasy and inter-dimensional transcendence. This programme begins with 'Pocsy', and sees euphoric holograms burst through galloping Italo mechanics, fusing retro-tinged optimism with a nu-age release. 'Shoiab' (named after a fellow starship captain tasked to MCR and in alliance with RL Corp...) unleashes red shifted synths and carnal cowbells for the cyberotic lap-dancers to get jizzy too. 'Autopilot' allows the on-board crew to reassemble, a well automated array of arpeggios guiding the shuttle during the first phase, until reconsolidating in the latter stages for full-on interdimensional 5-D funk jam. 'Lightwork' is pure RL endorsed synth-jizz, erupting out of Tommy's arsenal like a mis-timed giant alien cumshot; minus any Manga references.
'Astral Projectile Vomit' address a common problem endemic to protectors of our star cluster; then channels a shiny, serpentine chrome sequence and thrusts it down the rainbow road for maximum belly aches.
More hydraulic collisions between electronic disc-boogie and newly mined atomic particles from passing asteroids ensures Srg. Walker has enough mainroom material to keep the Sharons and Traceys of the main hub dancing in between injections of dimethyltryptamine. Closing with a trio of humanoid hits that'll have Jonny5 ordering kryptonite margaritas for the entire ship, Tommy Walker celebrates with the cosmic conge, 'Gary Blast'.
RL Corp is confident RL30's internal algorithm is a future-proofed, cross-species platform for auditory excitement, and will continue to stimulate listeners across a multitude of environments.

At WNCL HQ, we’ve been hanging tough with new kid on the block, STAVROGIN (Stray Landings, 3BS, Last Drop) who has blown our mind this time

He provides 3 fresh original tracks in follow up to his recent debut appearance on We Are Family Vol 4. Remix duty is taken care of by fellow Cassette Librarian and breakbeat scientist, LMAJOR who comes through with the right stuff...

"Continental" is the new full length solo record by Milan-based multi-instrumentalist Nicola Ratti, following recent releases on Where to Now? and Room40. Conceived of by Ratti as a "series of big rooms or places to get lost in, full of small details and characterized each by a single flavor or perfume" it is a surprising and vibrant collection of music. Working with a palette of spare, expertly deployed percussive synthesis techniques, Ratti's work here is both labyrinthine and concise. These eight tracks are able to evoke spaces real and imagined with startling efficiency and clarity. Sprawling old world libraries, cliff caves inhabited by dripping water and rock doves, an automaton nearly slipping its axis but recovering just in time and finding a new sense of purpose in the process.

Canadian John Varuhin serves up the second tasteful EP on Clyde Records , a sublime minimal techno affair across 4 standout tracks.

This Vancouver artist is a techno DJ and producer who has also played a purely digital live set in the past. He has a clean, crisp style that comes back from the future and is rich in hi fidelity details that make it truly cinematic.

Opener ‘ Bunker ’ is a spacious track with gooey kick drums rolling deep as slithers of synth and tiny metallic sounds glint and glisten up top. It’s perfectly transcendental, while the excellent ‘ Retribution ’ picks up the pace with a sense of silky techno urgency. The unsettl ing sound of distant automation and darkened synths recall the best of Motor City techno and ensure this one will have the floor locked in.

The expertly designed ‘ Rainy Day ’ is pure minimalism, with icy hi hats and scuttling little details sure to find favour with fans of Robert Hood. Hugely atmospheric and absorbing, it’s the sort of deep and late night track that’s designed for intimate club rooms. Last of all, ‘ Detached Screen ’ is another deep, rolling, perfectly elongated groove design to melt your mind and trap you in the beautiful repetition.

This is a classy and timeless EP of meticulously crafted minimal techno.

The tight knit groove specialists ESHU return with another excellent split EP featuring core members Jocelyn Abell and Ivano Tetelepta. They take one track each and collaborate on one other and again they lock you into their excellent drums from start to finish. First up the Dutch pair work together on Bury The Chains, a super deep and smoky dub cut that is cavernous, mystical and all consuming. The drums are buried way down below the surface as distant pads bring a feeling of automatic and icy hi hats ride up and own the mix. Abell then offers 1949 - 1952, a driven bit of spaced out techno that glides on rubbery drum programming and is fleshed out with gorgeous swirling pads. Last of all, It Was Not A Choice is a quick and slick deep techno affair with deft synths and wet hits all sinking you into the journeying groove. These are three devastatingly effective and atmospheric tracks of heady techno.

Dimi Angelis' eighth release on his ANGLS label is essentially a tale of four brothers. Four separate tracks, clearly related yet with distinctive qualities that sets each of them apart in its own unique way.

"I love it. SO beautiful"
Josh Rosenthal [Tompkins Square]

Songs For A One-String Guitar is the debut instrumental acoustic guitar LP from Jonny Dillon. Better known for his analogue electronic music productions and all-hardware live sets under the ‘Automatic Tasty’ moniker [Lunar Disko, CPU, Wrong Island], Jonny’s records (bearing heavy acid and electro influences), along with live appearances at venues like Berlin’s Panorama Bar and Kiev’s Closer belie the fact that he has been quietly exploring the musical landscape of the guitar for nearly twenty years.

Recorded as a series of sketches over the last 10 years, Songs For A One-String Guitar represents a snapshot taken over a long exposure; one individual’s private response to a variety of currents and inspirations both musical and emotional. While informed in large measure by the world of Irish traditional music and song (of Sweeney’s Men, Planxty and Seán Garvey) along with that of primitivism and the American Spiritual (of John Fahey, Hank Williams and Mississippi John Hurt) these songs are equally a personal attempt to give expression to an inner landscape, from the experience of sorrow and loss to the promise of redemption and renewal.

The LP opens with ‘Turning Invisible In An Imaginary Rose Garden One-Evening’ a contemplative piece played in free-time; “I’ve been playing this piece for years, and it’s gone by so many different names in that time. It’s a sort of shoe-staring daydream, to my mind at least. I want people to disappear when they hear it, and think it suits the LP to open up slowly and reflectively”. While a contemplative strain underpins some of these songs, others are informed more directly by the experience of grief; “I wrote ‘A Requiem For Joe Dillon’ at the death of my uncle. He used play lots of wonderful songs of his own at family gatherings when I was a child, and while a very gifted and sensitive soul, was also troubled by his own demons. The last time I saw him alive was at my family home with my father; I was going out to see some friends and Joe called me back, gave me a hug and made the sign of the cross with his thumb on my forehead, to bless me. It still chokes me up when I think about it. A song of his ‘Light A Penny Candle’ I included to finish the piece in his honour.” A sense of longing and hope is present in other pieces; “Songs like ‘Again But With Feeling This Time’ and ‘Start Again (Carry On)’ come from a sort of hopeful yearning feeling which is always within me; a melancholic sort of joy in search of redemption. For me, music has the strange capacity to express contrary positions simultaneously; to console, redeem and offer transcendence while also expressing suffering and pain. I don’t know what any of this means, but feel as though I’m trying to find my way home by writing the same song over and over again.”

Songs For A One-String Guitar may seem to represent a departure for those who know Dillon for his electronic productions alone, though the reality is that these songs merely represent a new opening onto an old landscape; they are an invitation to more fully share in one individual’s yearning to find meaning through creative expression. “These songs are very personal to me, so there’s a certain nervousness in my seeing them released. I hope that they prove of some use, and that they do some small good to those who hear them.”

Repress available in early May.

Faitiche releases a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

"Watching the Japanese sound artist ASUNA playing the organ, some people might be surprised. ASUNA is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.

I first met ASUNA when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed Signals Bulletin. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.

Whether using prepared organ, Casio keyboards or mechanical plastic toys, ASUNA creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.

The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.

It is no coincidence that ASUNA owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ..."

Jan Jelinek, Berlin 2018

Originally released on Illuminated Records in 1983, "Viral Shedding" is surely one of the most important references for the industrial/funk dance music.

Between pure noise and electronic beats, 'Viral Shedding' is creating a twisted and percussive rhythmic urge, a funky disco sound permeated by digital industrial beats. Nigel Ayers and Caroline K take their inaccessible best and thrown it into the melting pot with a set of pumping rhythms. The result is the frustrated son of mutant disco, swimming in the same waters of Cabaret Voltaire, 23 Skidoo, Tackhead, Meat Beat Manifesto and Hula.

As Nigel Ayers recalls, "Popular music picked up on what we were doing 1983-1984, which helps explain why records such as -Viral Shedding- sound clubbier today than they did at the time, but the technology of music making locked in a seat of aesthetics in those days that shaped pop as a whole more than industrial music itself did. Whether by synthesizer manufacturers' musical design or through engineering limitations, the more automated a band allowed their music to become, the dancer it was likely to be."

Features the classics 'Suffering Stinks', 'Going Under' and 'No Separation'.

A world premiere of AI-generated symphonic music!

All three audio files are compiled from two live recordings with different microphone settings. The cover image is generated by algorithms trained with the following image searches: migration, mediterranean, boat, Libyan coast, EU. Different search engines were used. »Land der Musik« celebrated its world premiere on 7 October 2018 at steirischer herbst '18 - volksfronten in Graz, Austria. Commissioned and produced by steirischer herbst in cooperation with ORF Musikprotokoll.

A1. soundalikeStrauss (an audio reverse-engineering tool is used after the initial cross-fade) A2. AIstrauss (algorithms are trained with midi-files of Johann Strauss waltzes) B1. AImahler (algorithms trained with midi-files of Gustav Mahler symphonies) B2. (untitled)

A new standard of beauty. Artificial intelligence (AI) algorithms can now group photo pixels or audio waves into meaningful categories. This is similar to how our brain operates, yet the outcome seems distinctively non-human. At the same time it appears that the sphere of our appreciation and imagination may just have expanded. The question of whether we are still able to see and hear the difference between automated and so-called autonomous artifacts should be left to historians. On the other hand, producing this analog audio record with this image on the front cover really is an antagonism. A more appropriate medium might be a tracking chip of your online and offline activities generating customized results in real time—be it images, music, or whatever.

If AI is communist (to quote the libertarian Silicon Valley entrepreneur Peter Thiel), then this statistics-based technology might actually reinforce centralized monopoly capitalism and the coming crisis of inequality, just as it might accelerate into Deleuze's notion of the Society of Control. But it might also be seen and heard as a demo, a new standard of beauty, for the redistribution of wealth and for solidarity; in short as a utopia freed from exploitation, nationalism, and racism, liberating us from our own perception of this world. »Land der musik - The Graz AI Score« demonstrates how machine learning might help us to finally create the perfect Austrian national music identity. Yet in doing so, our ultimate aim is to get rid of the construction of national identities all together.

»God created man because he dreamed him. / But man forgot God and created the machine because he dreamed it. / At the end of the twentieth century, however, the machine has forgotten man. / Who could predict who or what she dreams of« (Friedrich Kittler)

With brand new interest in beats and rhythm once again coming into play, Puzzlebox label owner, Keith (K-1) Tucker, has now decided to revise and revisit the music from his catalog as "Puzzlebox Classics." The very first release is a valued gem of an EP called, "Atomaton", featuring:

"Nemesis" - An instant classic, which brings on Tucker's signature Electro/Techno beats (Aux88), a tough as nails funky bassline, and his trademark eerie strings. Robo-vocals recall us to remember that "The future of the electro movement is upon us"... Believe it.

"Oscillator (bonus beats)" - Brings us the perfect beat, a dramatic bassline, and swinging percussion attitude to the fold.

Sure to be a hit with new ears as well as "heads" from its mid-90's release. Additionally brought to popularity in Detroit by WGRP TV's, "The New Dance Show", as a favorite go-to party recording. Made with the intent of DJ's, by a DJ.

"(Techno) On My Mind" - Mind-bending arps and clicky pecussion shoot this off-world thumper into overdrive for your ears. While the relentless hard snare battles for attention against a triggered piece of electrofunk provided by a 'K-1' bassline, weaving itself around anything constant in the tune, listeners are guaranteed transport to a realm within an alternate universe and the urge to move their feet. A mental-mover, indeed.

#thetimeisnow
#getthisenjoythis'AUX QUADRANT' for what it is.

Crossing boss AVION delivers the label's debut album with ten atmospheric Techno cuts including a collaboration alongside Ninja Tune favourite Emika.

Berlin based producer AVION's structured techno has found home on respected labels like Index Marcel Fengler, District 66, Stress Research and Pure. However, his own label Crossing - launched in 2013 - has hosted the majority of his work when not releasing music by Pfirter, Doka, The Automatic Message and Milton Bradley (as Doomsday Device). It only makes sense then that AVION's debut longplayer sees him return to his imprint.

Opening with the ominous heartbeat and metallic drones of 'New Day', AVION's album quickly takes things into a murky analog direction with crackling 'Errata' and its twisted effects before 'Stones' follows with its offbeat drums as sanguine chords begin to shine through. Syncopated percussion follows with 'Adamant' as twisted synths continually sweep, leading into 'Untrod' and its scintillating chimes and mesmerising textures.
Squelchy acid licks join otherworldly pads in 'Scan' until the dystopian 'Evasion' builds in tension as lo-fi drums join oscillating bass. Pitter-patter drums and pulsating stabs are next in 'Firebox', making way for the harrowing 'Street Lights' that utilizes the ethereal voice of Emika. Finally, 'Nebul' provides a shadowy finale with a crystalline aesthetic complete with a cacophony of intricate details.

Lockertmatik steps up with both his alias' Lockertmatik/Kryptic Universe for Delinquent Deliveries first release. Both sides encapsulates his Detroit tinged acid goodness.
- A side gives you Director's Cut, the title track. It's a squelchy acid number that buzzes and flies through exceptional automation and it's acid is as good as it gets, a true winner. A2 delivers a Kryptic Universe track, Chandler Park. It's heavenly in its soundscape a ture fire hit.
- B side does not let you down either, Stuff #2, a forward moving acid banger that grooves and modulates from beginning to end, something for every discerning record bag. B2 brings the record to a close with a detroit tinged acid banger, Blue Film.

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Released in 1976, Distinctive Themes / Race To Achievement is legendary arranger Nick Ingman exploring the two distinct ideas of 'impressive themes varying in style from 'Basie to Elgar'' and 'a study in the pressure and rewards of achievement'.Distinctive Themes is a veritable indulgence of variously-tempoed, full orchestra, big band workouts, from relaxed swing to more propulsive themes. The progressively building 'Expanding Markets' is a true highlight, with its rolling pianos, contemplative electric guitar solos and moody horns over skipping beats.
The dramatic 'Against The Odds' is another stand-out.
Race To Achievement is all rugged funk with stabbing chords and strutting horns and it's probably our favourite side. Of course we have to acknowledge the fantastic 'Tense Preparation', sampled by Prince Paul and Dan The Automator for Handsome Boy Modeling School's seminal 'Magnetizing' with Del Tha Funky
Homosapien. But the whole side's range from tense underscores to fast and punchy chase themes makes this is a gem of the KPM catalogue.
As with all ten re-issues, the audio for Distinctive Themes / Race To Achievement comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current
custodian of KPM's brand identity.

*Black vinyl press* Reissue of his debut album from 1980. Beautiful experimental sound design which results in proto-techno soundscapes. A gem in the genre!
Minimal Wave is honored to present a reissue of Sympathy Nervous' pioneering debut album originally released in 1980 on Vanity Records out of Japan. Sympathy Nervous was Yosihumi Niinuma's lifelong project which he started in his Tokyo living room in 1979. Through Sympathy Nervous, Niinuma was able to channel his energy into what he loved - building his own synthesizers and speakers from scratch. Niinuma was inspired by German Krautrock and through his music created intense proto-techno soundscapes. Now finally available for the first time ever, remastered from the original tapes used for the 1980 release, is the timeless masterpiece in its entirety.

Milton Bradley debuts on AVION's Crossing with three ferocious techno cuts under his Doomsday Device moniker this November.

Since its launch in 2013, Crossing has mainly acted as a platform for its founder, Index Marcel Fengler and Stress Research producer AVION, however the imprint has also hosted techno artists like Thomas Hessler, Pfirter, Doka, The Automatic Message and Stefan Rein. The label now presents a full release from Milton Bradley, appearing under his Doomsday Device guise. Founder of Do Not Resist The Beat!, the German producer has also appeared on labels like Prologue, MDR, Ann Aimee, and many more.
First up, The X-Planet' uses relentless drums, arcane vocal murmurs and bursts of white noise to

set the tone for a truly militant release. Device 4' is then a twisted journey from start to finish, with its pitter- patter sequences and oscillating sci-fi inspired atmospherics, making way for The Yesterday Machine' with its menacing aesthetic complete with ebbing synths, crashing hats and off-beat snares.

'Breathe The Machine' is the first installment of Dojostudio and presents a musical world rich in harmonics, low frequency and melodic impact, yet with enough space in between to allow that perfect breathing room essential for powerful dance cuts. 'Breathe The Machine' portrays a world that initially feels robotic, yet instills an organic fluidity known only to come from humanoid beings, breathing life into a system littered with code and coldness. Billy Dalessandro presents 3 original cuts, plus a rendition of the title track by Mike Shannon.

Both for 'Breathe The Machine' and 'Tractor Beam' the Waldorf Microwave XT 2 and the Jomox 888 were the primary sound sources. For 'Breathe The Machine' the 888 was processed through a Jomox T-Resonator, which added harmonic distortion, and also spread the stereo spectrum out a bit offering the drums a more washed-out feel. The XT was layered track by track by performing patterns live into an editor until the desired ideas were properly recorded. Mike Shannon was brought on board to offer a contrasting expression of 'Breathe The Machine' and when asked how the process went he stated:

"I took the source sounds, edited them and processed them to work with a groove I had written for this remix. I mainly used the pad, lead synth and synth effects from the original. The rest of the gold I engineered."

On 'Tractor Beam', subtle use shows that ample space in between ideas make things seem larger than life. By allowing a more minimal approach in the production process the sounds can easily co-exist, allowing for that 'big room' sound without overwhelming the overall experience.

The digital exclusive 'Deliverance' was created using NI's Maschine for the drums, and FM8 and Reaktor were the sources of the synths. Drum patterns were created in Maschine and then recorded in realtime back into the DAW as it played, with real-time tweaking of the hi-hat to create the desired impact, especially at the break. The synth and pad patterns were recorded as MIDI into the editor, and then automation of the synths' VCF rounded out the expression needed to complete the emotional process.

All in all, DOJ001 is mostly an all-hardware showdown, with 'Deliverance' being the only 'virtual' attempt. Life is in nature, not in machines, yet the culmination of the two worlds can be beautiful, if only properly tamed and understood. Lest we beware! Stay tuned... and thanks for listening!

Moritz Simon Geist, media artist and robotic musician, publishes his first record. It is the world's first techno record played entirely by self-made futuristic robots. This is the 4-track EP to the following full-length album out 16. Nov. 2018. All of the sounds on his records are played by robots: small motors that beat on metal, futuristic 3D-printed robo-kalimbas, salvaged parts from old hard drives that click and cut. It took Geist several years to build, tweak, test and play all his DIY robotic instruments. His 'Sonic Robots' try to push the boundaries of the imaginable. He did so already in 2012 with his well-known oversized 808 robot - an iconic drum machine gotten real, 4 by 2 meter, filled with robotic parts which play the instruments live and in front of the audience. Now, Moritz Simon Geist goes even further to discover the unknown and futuristic world of techno robotics. For this quest he teamed up with the berlinian sound wizards from Mouse On Mars and dug deep in the history of mechanical music and experiments of early electronic music.

On the 4-track EP 'The Material Turn' Moritz Simon Geist turns materials into sounds. The opener 'Entropy' is a bassy club-track, played by futuristic bass-kalimbas, a psychedelic pattern of tonal glasses and pneumatic hi-hat patterns. It is core piece to this EP and is also featured in the main video. Even without a visual part, listening to his music, a sound world opens up which is unheard before: in definition, reference and organic nature. Geist: 'When you listen to robots playing, you realize, that they sound precise, but in contrast to digital sounds they transport an immense organic feeling. No beat is like the other, everything is played with actual acoustic physicality and thus actual error. On the same time, the repetitive nature of the robots make it perfect for playing electronic music. Its industrial and organic at the same time.' The second track 'Under Deconstruction' is a metal-on-metal slammer with a heavy beat played on a big sheets of metal. 'I often try to compose a track around one instrument', explains Geist, 'letting the sounds take a lot of room so they can stand out.' The B-side starts with 'Supercharged' - a heavy drone, reminding of the darked sides of music concrete. Here, tuned air fans, and a metallic percussion robot create the texture. 'Detok' closed the EP with an up-tempo club track, featuring complex rhythmic textures and well defined robotic percussion elements. What Moritz Simon Geist came up with is a stunning record of what is possible today - to explore the sound of mechanics that keep on filling our world. Geist creates a smashing soundtrack for both the precise automation and physical fragility that shapes today's society.

Transmission incoming from Mr. Incognito's secret lab. Rat Life presents eight psycho acoustic models made by the low key East German producer. You probably never heard of him, but he is doing this thing since half an eternity. Rather than playing a lot of shows he focuses on studying the craft of electronic sound manipulation and what else can be said that: he is on top of his game! He shows us that it is still possible to create sonic structures that are beyond the usual by just using classic devices such as the TR 808 rhythm composer and a TB 303 monophonic synthesizer. Next level funk composing at various tempi!