Tim Doyle’s Micro-Brew (VULP-0040) is an album from an incredibly prolific artist of experimental fractal music out now on Vulpiano Records. He has been active on Last.fm in particular, not only releasing his own music, but in creating a diverse array of radio stations (see also The Radio Room) of everything from New Edge (“New Age that’s not elevator music”) to Chappaqua (“spoken word, avant-garde, post-romantic, noise, drone”).
Download here: http://archive.org/details/TimDoyle-Micro-brew2012
Background on the tracks from Tim Doyle:
The original sequences are utterly determined by the presets in the MusiNum program, and the result was then converted from MIDI to MP3 with a blend of soundfonts and the MP3, originally twelve-tone, was in turn subject to fairly simple editing procedures to create the first piece, “Get a Grip”. As those procedures included continuous deformation of pitch, and the layering of differently countoured results, it was at that point that they became microtonal.
The pieces form a unified whole despite their different emotional affects, but only the unconscious can fully appreciate that unity. The best way to appreciate them is simply to let them be, like a natural phenomenon observed.
“Get a Grip” is simply a reference to the initial disorientation that the microtonal environment evokes, together with the rhythmic deformations that make it difficult to pin any single tone down and anchor it in pitch-and-time space.
“Shellshock” refers in my mind not so much to the WWI experience as to the aftermath of a B-52 bombing raid, which I read sometime leaves any physically unharmed survivors wandering around in a state of disorientation produced by the pure sonic assault, now ended.
“Agoraphobe” is simply a trip from the safety of home to the scary outside world which seems to overwhelm the agoraphobe and come at him without warning from every direction… at last the process is reversed and we again melt into the quiet and safety of home base.
“Fogblind” created an image in my mind of being at the water’s edge in a port town early in the morning when not only is the entire scene blocked by the fog, but the sounds of the busy city itself reach one only in a muted and attenuated form. It is not at all an unpleasant sensation. Anyone who has lived in a harbor town can appreciate it. (Mine are Buffalo, Milwaukee, and San Francisco.)
About Tim Doyle:
Tim Doyle was born Feb. 12, 1949 in St. Cloud, Minnesota, the oldest of nine children, and spent his childhood in a rural setting on a heavily wooded lake.
He has been making music in one form or another since childhood, when he soloed in a performance of his piano concerto âRhapsody #1â at age 9 in a school production, and had a band piece called âRough Draftâ performed a few years later.
He turned to jazz and blues piano in his teens, but although he studied music theory and composition, he majored in mathematics, his first love, receiving his B.A. in 1968. He was always intrigued by the connections between music and math, and made some early experiments at computer composition in the late sixties.
His love for jazz deepened when he discovered the Blue Note catalog at age 20, starting with Jimmy Smith, Art Blakeyâs Jazz Messengers, Lee Morgan, John Coltrane, Miles Davis, and Bill Evans. He still plays keyboard in various styles, but has not recorded his improvised music.
In 1999, he ran across a relatively simple fractal music generative program called Musinum, created by Dr. Lars Kindermann in Germany, who left it available as freeware and then moved on to other projects. Most of the sample music created by Musinum users was brief and (with a few notable exceptions) primitive, but the power inherent in the algorithms employed intrigued Doyle.