Brazenly calling bullshit on the problematic foundations which Academia was built atop, and the gatekeeperisms it surrounds itself with in order to circumvent critique and maintain the business-as-usual status quo within its institutions; as a former orchestral performer retreating from the frontlines of Academia myself, Goodiepal was a much-needed breath of fresh air when I first stumbled on to his work over a decade ago. He offered completely fresh ideas and kicked open a door to those willing to venture, a trove of endless rabbit-holes of choose-your-own-realities, thought-provoking theories that cracked open completely new in-roads of compositional scenarios, down which the pupil could get lost in the spark of inspiration offered by exploring these uncharted avenues.

I’ve spent countless hours evangelizing his work to those willing to reassess their own musical boundaries. Goodiepal’s takes on compositional gaming scenarios, resonance computing, artificial intelligences, utopia, language and technology, and the role of the composer within Radical Computer Music itself, all uncover secret passages and enduring universal truths that ladder up both forwards and backwards thru time.

I was elated when Goodiepal reached out to work together again (following an incredible tape on Baked), inspired by the limitations imposed on my prior lathe editions of live performances concentrated within the confines of a single instrument.

PATCHBLOCKS AGAINST THE HIJACKED ARTS sees the potential for autonomous creation, in vein of Todd Barton's infamous Krell Patch, but democratized by leveraging fully-programmable consumer-grade electronics instead of more exclusive tools often associated with the class-hierarchies of Academia residencies. Here, utilizing an interactive system of musical cells which sit somewhere closer to LEGOs than grant-applications, Goodiepal dons the guise of (((Pruttipal))), and calls to light the problematic nature of dark monies in the arts.

Here, Pruttipal, calls to light that a number of larger holding companies and the manufacturers of the components that satiate the supply chains behind creative tools often utilized by artists, are actively engaged in financing of anti-immigrant lobbies and thereby using their revenues to aggressively participate in the oppression and suffering of thousands of humans currently in crisis in the EU. It makes sense, as he shines light on the often under-acknowledged underbelly in the financing of electronics manufacturing, that he opts instead to do so with Patchblocks, a kickstarter-launched start-up from Northern Ireland, who built their technologies to be transparent, crowd-funded, open-ended, and community-fostering.

NQA-009 - PRUTTIPAL "Patchblocks Against The Hijacked Arts (SIDE A)"

NQA is micro-label arm of the First Church of Synthesis, a suburban home for wayward synths.

NQA remains steadfastly concerned with obscure formats, antiquated technologies and capturing ecstatic moments in time and preserving them, however transitory the medium.

NQA-009 - PRUTTIPAL "Patchblocks Against The Hijacked Arts (SIDE A)"

Not Quite Archaic