Robert Dominicus is the collaboration of John Robert Ferguson and Seth Dominicus Thorn.
 
The goal is to explore techniques and timbres associated with a variety of vernacular electronic music practices, avoiding the latent dynamics of genre-specific expectation. The majority of “there’s something in the water” was recorded in an entirely improvised/live duo scenario; it’s something of an oversimplification, but John is often responsible for the beats/dynamic fractures and Seth for the textures/harmonic shifts. Robert Dominicus believe that the values and timbres of much contemporary vernacular music remain an awkward proposition for many supposedly forward looking art institutions, this is a tension that they seek to highlight. John is excited by digitally augmented instruments and the aesthetics of the handmade, his contribution to this project represents initial explorations with the Ableton Live/Max for Live controller: Push. Seth applies a punk aesthetic to extended viola performance and likes to quote Adorno, his contribution to this project revolves around bespoke max patches, a Behringer BCR 2000, and a MIDI keyboard.


All up on that piano

Cerealism

Lost Highway

Somewhere

The Genius Bar

Amnesia Rolodex

Marble Grinder

Taste the Double Rainbow

Robert Dominicus is the collaboration of John Robert Ferguson and Seth Dominicus Thorn.
 
The goal is to explore techniques and timbres associated with a variety of vernacular electronic music practices, avoiding the latent dynamics of genre-specific expectation. The majority of “there’s something in the water” was recorded in an entirely improvised/live duo scenario; it’s something of an oversimplification, but John is often responsible for the beats/dynamic fractures and Seth for the textures/harmonic shifts. Robert Dominicus believe that the values and timbres of much contemporary vernacular music remain an awkward proposition for many supposedly forward looking art institutions, this is a tension that they seek to highlight. John is excited by digitally augmented instruments and the aesthetics of the handmade, his contribution to this project represents initial explorations with the Ableton Live/Max for Live controller: Push. Seth applies a punk aesthetic to extended viola performance and likes to quote Adorno, his contribution to this project revolves around bespoke max patches, a Behringer BCR 2000, and a MIDI keyboard.

http://johnrobertferguson.com
http://www.seththorn.net
