Popcorn is a track that is determined to celebrate its airing.  A melodic fusion of house, jazz with a hint of a celtic call, offset against the doumbek's middle eastern precussion driving along the underlying serious techno beat.

Its sophisticated musicality ejects a crisp euphoric vibe, that will not surrender itself  to the obvious or predictable.

Whizz, bang, tap those feet.
Raise your arms and wrap them around your neighbour.

We're all human!

Popcorn

I reach out from my soul,  and pick up an imagined telephone,
Calling out, the phone rings into a room long left empty.
A room connected to many souls, who  filled its space full of joy.
My time machine made a collection of all the joy and woven it deep into the fabric my heart. 
It sustains my joyful beating rhythm.
A gift never to be forgotten.

Time Machine

Each autumn the starlings gather and take flight with an awe inspiring display we have called a murmuration.  

The natural world passes through states of  harmonious order and states that are far less comforable and chaotic. The unique but none the less interconnected web of  rhythms found in the natural world continues to evolve because of this and continously never fails its awesome beauty.  

This piece is an ode to the humble starlings that transpose natures musical rhythms into spectacular visual displays occurring in our evening skies.  

Every year  they show us what feats can be achieved in unity during change.  A revelation of the perfect connections  that lie between natures seemingly random patterns.

Each track in this piece has been scored using a range of different time signatures: 3/4, 6/8, 4/4 etc. Layered on top of each other and tied together by a simple 1/4 kick drum.

Murmuration

B2 - Absolute Spirit

At the time of writing I had not long read Stephen King's - The Stand  - a post-apocalyptic dark fantasy novel.

The plot centers on a deadly pandemic of weaponized influenza and its aftermath, in which the few surviving humans gather into factions that are each led by a personification of either good or evil and seem fated to clash with each other.

The epic novel provided me with the inspirations that I have arranged as a musical interpratation in Candy Floss.
 
Candy Floss - references Stephen King's character Tom Cullen and his abilities to slip into a form of self-hypnosis, wherein he is able to make connections that he cannot while "awake" — that is, conscious and focused on something superficial.

Tom Cullen is initially introduced into the story as a character thought to be in his mid-twenties to mid-thirties, with a mild to moderate learning disability. Nick Andros encounters him while cycling through Oklahoma. Upon learning that Cullen remembers his father's return from the Korean War, Andros realises he must be much older; perhaps in his forties. The two form a close bond, despite the fact that Andros cannot speak and Cullen cannot read Andros' notes. When the two encounter Ralph Brentner, Cullen is finally able to learn Andros' name.

Cullen's speech includes colloquialisms such as "My laws!" and "Laws, yes!" He frequently references himself in third person. Cullen also punctuates important points, believing them to be spelled "M-O-O-N" such as exclaiming, "M-O-O-N, that spells Nebraska!" When he is required to make a logical connection.

Andros, Stu Redman, and Glen Bateman use this ability to place a post-hypnotic suggestion in Cullen that will help him act as the third Free Zone spy. During one session the group discovers that while hypnotized, Cullen possesses the same type of foresight as Mother Abagail, concurrently referring to himself as the "Tom" Andros met in Oklahoma and "God's Tom".

Cullen travels west, transmitting a hypnotically-imprinted cover story to gain entrance into Las Vegas, and is able to avoid detection by Randall Flagg.

Cullen's anonymity seems to stem from his disability, as Flagg tells Dayna Jurgens that every time he tries to see the third spy, all he sees is the moon; this confirms her sighting of Cullen earlier (while both were on Las Vegas work crews). It is Jurgens's desire to protect both Cullen and his status as a spy that compels her to commit suicide, rather than submit to further questioning from Flagg. 

The sight of the full moon rising over Las Vegas triggers Cullen to act on a post-hypnotic suggestion planted in his mind and begin the return trip to Boulder, avoiding the nuclear explosion that destroys the city.

During his journey, Cullen has a prophetic dream that compels him to double back and find Redman, who has broken his leg and has contracted pneumonia. With help from Andros's spirit, who appears to Cullen in visions, Cullen is able to nurse a delirious and dying Redman back to health while they are snowed in for much of the winter, in motels in central Utah (Green River) and western Colorado (Grand Junction). Together, the pair return to Boulder to report the destruction of Las Vegas.


B1 - Candyfloss

A -Drug Kissed Angels

A deep, dark and moody psychological teleportation, carried on a bassline that literally is grinding out the groove by the feedback of a SL1210 tone arm!

Sunset Strip is a collaborative reunion between the instigators of the still sought after record label Suspect Package  (Daniel Poli and myself.) 

https://www.discogs.com/label/14027-Suspect-Package

Mastered by Rob Pearson - Online Studios

Sunset Strip - DPOLA (Daniel Poli & Autonomy)

Imagine To Be Different

There is music that bounces between the waves.
Corruption nestled in abstract of technological precision.
A rebellion laying in wait amongst the convenient self-gratifications.
A revilement to celebrate all pioneers who adventure; 
Open, Concisions, Humility, knowing sound is a gift to all. 
Waves presenting not entitled no body to make a claim.

Tape Loop Phazer

Tape Loop Phazer More Bass Please

B4 Social Media - Get Mad - The Only Root To Self Distruction

Music has been a universal language that I feel the most at home with. It enables me to find commonality and connection with others, with an availability of rich vocabulary transcending the limitations of words alone.

I began writing and producing in the late 90's under the names of Pyramids and Autonomy. These first tracks were released on Evasive Records.

In 2000 I went on to establish my own label alongside Daniel Poli and initially with Davor Basic, who went on to host his infamous parties where many of the Suspect Package artists gathered and performed.

I had met Daniel Poli at Swag records while recording "One Time" and was the first installment on Suspect Package. 

Suspect Package was all about the unexpected, a label run by artists for artists.  A platform for up and coming undergound talent to break out and showcase their material. 

The ethos of Suspect Package was built on an attitude to remain as a steadfast  resistance against the conformity of settling on dumbed down formula.

It was a commitment that continually demanded and questioned all boundaries, that packaged musical concepts within boxed up; notional barriers. 

Suspect Package had 9 releases from 2001 - 2005 the artists:
Autonomy, Chris Pascoe,  C-Soul,  Daniel Poli, Earth Deuley, Filth, Iteration – X,  Marky Star and Red & Blue.

14 years on, Daniel Poli, detonated Suspect Package's 10th  "Long time coming" and showcased artists works by Dav, Marky Star, Sounds of the Suburbs and The Buddy System. A reminder what it is all about. 

My musical collaborations have included Rob Pearson, Lee Humphreys and Daniel Poli.

In 2003 I enrolled at Dartington College of Arts with turntables as my main instrument. The institution in its relatively short history had acquired an international reputation as an innovative centre for contemporary practice. It was one of only few in Britain devoted exclusively to specialist practical and theoretical studies spanning right across the arts.  

My studies did expose me to practical and theoretical questions regarding the role of the arts in the wider world. This experience catapulted me out of the studio production setting and out the confined limitations of my own thinking.  

It impacted the relationship I had with instruments, music and more specifically sound.  In doing so it created endless possibilities. 

The highlights:

6 minutes peice composed for a DJ mixer, guitar amp, voice, heart beat and a French 
speaking radio broadcast.

Loop capture arrangements: 

For female voice accompanied by children's music boxes.

For Electric guitar and Ebow.

A collaboration of flutes and rain stick with cello, guitar  accompanied by the River Dart and South Devon Railway's GWR 1366 class steam train.

A live remix of 8 minimal Techno and Electro Break tracks. Performed as  one track by 2 DJ's, 4 decks, 1 CDJ and two basic mixers ie no effects, loop recording or sampling functions. The duration of the remix was equivalent to the length of a new single track. 

(This project included concepts of notation relative to the DJ and turntables. Both traditional western notation scoring and graphic scores.)

2 Sonic Art peices and sound design from environmental captured audio. The Spirit of Fire - Backdraught is one of those peices.

Theoretical studies that have captured my imagination are the works of, experimental and minimalist composer's, Steve Riech, Terry Riley and John Cage. Looking at repetition, phasing, chance processes and tape loops. Composers Ligeti and Penderecki detailed layers that achieved textured avant-garde sound scapes and the interlocking patterns ubiquitous to Gamelan.

These enriched musical exposures are set into my musical foundations as I continue to create.




 



Autonomy

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