Note: This interpretation of 'I Have No Mouth And I Must Scream' has been created with the full knowledge and permission of Harlan Ellison. ©Harlan Ellison 1967 - all other rights reserved.

Piece I completed for my final project in college. Turns out it's difficult to explain something I worked on for three months in a few lines, so I have reproduced below some of my thesis for anyone that wants a bit of background (more available on request).

'I Have No Mouth' is an electronic piece composed within the schools of spectral music and postdigital 'glitch' music. It explores the validity of combining elements of both spectral and postdigital approaches in order to create a hybrid aesthetic with which to achieve my compositional goals. Similarities between spectral-thinking and postdigitalism can be identified; they also possess inherent tensions which could ultimately lead to a rich composition. The human voice acts as the main narrative and compositional element, selected for the rich frequential content present in the source material, and its philosophical and thematic affinity to the overall aesthetic. The source material in question is an audio reading of a science fiction short story..

For the piece itself, I decided to follow the narrative structure of the story, with sections of the overall work ordered with reference to what happens during the course of Ellison's narrative. It is divided into 6 distinct sections – one for each character in the story. Each character's 'section' is governed by a combination of their prominence in the story, their actions, and the spectral data garnered from analysis of Ellison's reading of their names. The chronology of the piece runs:

Section 1: AM – the antagonist. 
Section 2: Gorrister. 
Section 3: Ellen. 
Section 4: Nimdok.
Section 5: Benny. 
Section 6: Ted – the narrator.

I have divided each seperate section into two subsections. Each of these are based around different frequencies gleaned from the analysis data, with two notable exceptions: the very first part of section 1 contains no pitched material at all, as does the first part of the final section. From a philosophical point of view, each corresponding character section is influenced by the character's actions, the tone and mood reflecting the character's mindset. There is a symmetrical basis to the piece. It begins at its most postdigital, before gradually becoming organic. Section 3 is the most blatantly 'spectral', with a significant use of sustained samples and a minimum of glitched elements. This pattern then repeats in the opposite direction for the remainder of the work...

..I could bang on about this for ages, but I need a break. If anyone is curious as to the different spectral techniques and approaches taken throughout the sections I can send them on details. 

Enjoy!



I Have No Mouth (pts.1-6)

Here's a free download for y'all. Techno tune I made this morning. You can probably tell it was made/mixed/mastered in two hours but hey, the more stuff I do the better I'll get. Enjoy!

Pangea

Remix I did recently for the wonderful All We Are. Cheers peeps.

Utmost Good (Lunacybot Remix) - All We Are

So 80s it makes the Purple Rain soundtrack sound like the Graffiti Bridge soundtrack. 

1980s funk/disco/pop/soul mix featuring some of my favourite music from back in the day.

Fat Larry’s Band - Act Like You Know
Jocelyn Brown - Somebody Else’s Guy
Sister Sledge - Thinking of You
Gwen Guthrie - Ain’t Nothing Goin’ On But The Rent
Rene and Angela - I’ll Be Good
Bananarama - Cruel Summer
Cameo - Candy
Jermaine Jackson - Let’s Get Serious
Tuxedo - Number One
Michael Jackson - Baby Be Mine
Queen - Another One Bites The Dust
Zapp and Roger - Dance Floor
Bobby Brown - My Prerogative
Indeep - Last Night A Dj Saved My Life
Prince - Kiss
Luther Vandross - Never Too Much
Shalamar - I Can Make You Feel Good
Madonna - Like A Prayer
Alexander O’Neal - Criticize

Contact: lunacybot@googlemail.com
(0174) 6256606

Neon Antics - 80s Mix

Sajaki

Here’s a free download for y’all. Tune I’ve had knocking around for ages. Influenced by wonky Green Velvet and big snare rolls. Enjoy!

Dead Manager Bounce EP demo

Dead Manager Bounce

Time to start clearing out the clutter. Enjoy.

Expunge

Cheeky tune which tips its cap to Daft Punk's Rollin' and Scratchin'. 

Feel free to download and share. Thank you for listening.

Harding Grim

Lunacybot makes techno. He has released on Gobsmacked Records, Italo Business, Ressonus Records, System UK Digital, Variance, Toxic Recordings, and more. He DJs monthly on FNOOB Techno Radio (www.fnoobradio.com/techno). He makes ambient and experimental electronica under his own name, Ian Fleming.

Lunacybot ist ein gebürtiger irischer, jetzt in München ansessiger Produzent.

Momentan ist seine Music auf mehreren Labels veröffentlicht - Gobsmacked Records, Italo Business, System UK Digital, Ressonus Records, Phylum, Toxic Recordings.

Zu seinen Einflüssen gehören Alva Noto, Speedy J, Chris Liebing und Tangerine Dream. Sein unkompromissloser Stil is eine Kombination aus diesen Einflüssen und seinem eigenen künstlerischen Ansatz welcher sich in vielen Jahren des Studiums und der Komposition, auch ausserhalb des Techno-Genres, herauskristallisierte. Lunacybot beschreibt seine Musik al seine Kombination aus natürlichen und digitalen Klängen und den darin verborgenen Kontrasten. Aber er geniesst es genauso, einfach nur dröhnenden Techno zu kreieren.

Lunacybot hat seine eigene monatliche Radiosendung auf FNOOB Techno Radio (wwww.fnoobtechno.com/radio).

Always up for a collab or whatever, and open to criticism, constructive or otherwise. Feel free to message, mail (lunacybot[at]googlemail[dot]com) or tweet me (below).

Thanks for listening, share if you like, ignore if you don't, scratch if you're itchy, dance if you're drunk, cry if you're.....I could go on..

Lunacybot

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