July 13, 2014

Robot Film Festival

We’re stoked to play the Robot Film Festival July 19! I’m doing a tech talk at 2:30 and opening the awards ceremony at 8. Check out if out if you’re in the Bay Area.


September 30, 2013

Live in Ann Arbor

The September 2013 show in Ann Arbor was a blast. Visionquest (Matt Bardins) provided live visuals.


April 28, 2013 9 comments

A DIY Arduino MIDI Controller with Purpleheart

The Meganome

The Meganome

[Update: Due to the nerd blog media explosion (which is great!), I've had to buy Bandcamp download credits so I can keep giving away my music. If you've enjoyed the videos and music and you'd like to support the creation of future r0b0 beats, you can buy Vio for iPhone and iPad. It's $2.99 and makes your ears feel really good. I use it for the vocals on my EP The Human Element]

A year and a half ago I decided I had to abandon my horn claw MIDI controller. It was a tough decision because there was a lot to like about the controller: gestural control of rhythmic density and beater velocity, zebra wood, and of course, horns. That controller is the first, and as far as I know, only device to put dead springbok into the service of beat-making, a distinction that has earned it pride of place on my bookshelf of discarded electronics. But in the end, what mattered was making music live, and the horn claw made that difficult. It monopolized my right hand and didn’t have enough buttons to trigger pitched instruments. Enter the Meganome. (more…)

April 26, 2013

Figure, Mobile Music, and Mathematical Rhythm Theory

When I started playing with Propellerheads’ Figure app recently, I had a case of rhythmic déjà vu. I heard highly syncopated rhythms somewhat like the bell and clave patterns of African and Latin music but also some stranger and more modern timelines. Figure is an electronic music making app, so the patterns were rendered in the sonic vocabulary of techno and house music, but the spiraling, endlessly-forward-falling clave rhythms were unmistakable. The Aka pygmies of Central Africa were in the club. (more…)

April 1, 2013

Liner Notes

One of my favorite memories of listening to Miles Davis’s Bitches Brew is reading the stream-of-consciousness liner notes by Ralph J. Gleason. They’re very much of the era, with their run-on sentences, digs at the man, and confidence in the incipient unfolding of some glorious electric new age, but to me the first paragraph still stands as a timeless description of what I love in a lot of music.

… so much flashes through my mind when i hear the tapes of this album that if i could i would write a novel about it full of life and scenes and people and blood and sweat and love.

Ecology and narrative: those are the qualities in Bitches Brew that left me awestruck. The sensation that you’ve been sucked into a wormhole and deposited into an alien place with half-familiar beings who move about their lives–that impressed me and seemed so much grander than just expressing emotions. (more…)

April 1, 2013 1 comment

The Human Element

…is out. Four years after I left academic music and started building machines that play drums, my debut EP, The Human Element, is available for free digital download. Visit Bandcamp to grab the whole thing. I’m going to do a longer, liner-notes-style post soon, but for now, enjoy the video of the in-studio performance of track 2, Quick Minute.


March 22, 2013

Particle Manet Electro House Video


The first track on The Human Element is getting a video treatment with thousands and thousands of particles rendered in Processing. This is a still from one of the clips I’ve generated today, which is a bit more subdued than the others. Most of the clips have a psychedelic, cortex-melting flair, but this one had a cooler, impressionist look that I like.

Update. Here it is:

February 27, 2013

Space Station Vocalization

The result of two years of blood, sweat, and coffee hit the app store last night. It’s called Vio, and it’s based on the voice processor I use with Jazari. One year ago, I began collaborating with Audiofile Engineering on incorporating my audio code into an app that lets everyone explore fantastical sonic spaces derived from their own voice and gives musicians and producers a powerful voice-processing tool that goes beyond existing technology. That process deserves its own blog post. But for now, I’m going to post the amazing artist videos we recorded with Carnage The Executioner, Aby Wolf, OSO, and myself. You can learn more about the app at transformyourvoice.com.

I haven’t put up a performance video in some time, and this is the first one that shows the MegaNome controller in action.

Minneapolis-based vocalist Aby Wolf is riding a wave of success with her Wolf Lords project with Grant Cutler. The sound of her voice pitch corrected to just intonation with the Sitar Hero preset is one the most beautiful sounds I’ve heard from the app.


January 13, 2013

Supply Side Art

Art critic Dave Hickey discusses the oversupply of art creators and the power academic patronage exerts over them. Also, hookers in Las Vegas.

Dave Hickey: 09/17/2009 from MFA Art Crit on Vimeo.

January 8, 2013

The Problem with Interesting Music

“Interesting” is both the go-to faint praise for managing a conversation about someone’s mediocre art (“I thought it was really, um, interesting”) and the highest value to which contemporary creative work aspires. Beauty could never hold that dual responsibility. You can’t bullshit someone by telling him his terrible modern dance piece with spasms of sexualized coughing fits was “really, um, beautiful.” Interestingness is not a passing trend. The German social theorist Niklas Luhmann argued that every social system has its own binary code (in law, it’s legal/illegal, in business it’s profitable/unprofitable), and art’s has been interesting/uninteresting since the advent of modernism. It used to be beauty, but beauty got kicked to the curb just like moral instruction several centuries prior, according to Luhman. That would come as news to fans of Andrew Wyeth paintings or the crowds who throng to André Rieu concerts, but to anyone who has seen the inside of a seminar room in an art or music department, the primacy of interestingness is axiomatic.

What makes something interesting is open to debate, which is exactly the point. (more…)