Patch Notes: Qasim Naqvi

video upload by FACTmagazine

"Pakistani-American musician Qasim Naqvi is perhaps best known as a founder member of acoustic trio Dawn of Midi, in which he has played drums since 2007. Outside of his work in Dawn of Midi, Naqvi is an accomplished solo artist whose compositions have been performed by ensembles including the London Contemporary Orchestra and Chicago Symphony Orchestra, and soundtracked many films and documentaries.

Naqvi’s recent solo releases, such as 2019’s Teenages and 2020’s Beta, have made extensive use of synthesizers and modular systems. In this episode of Patch Notes, we invited Naqvi to perform at Pioneer Works, a non-profit cultural center in Redhook, Brooklyn.

'The building dates back to 1866 and was originally a railroad track factory,' Naqvi says. 'Now it’s a massive performing arts space. With my equipment, I was merging two systems that I’ve been configuring for a couple of years, a Verbos System and a Serge System. I also used a few random modules to connect everything: a Quad VCA from Intellijel and an X-Pan stereo module from Make Noise as the final output.'

'The acoustics are massive at Pioneer Works and we set everything up where the audience usually stands, so I was facing the house system,” he explains. “It was quite powerful to feel the music coming directly at me from this monstrous system. It definitely affected my choices. I wanted to embrace the full dynamic feel of the space, by exploring a range of highly dense sounds to rhythmic ideas, to more sparse and quiet moments. It was also a hellishly hot day and there was no AC in the building. At a certain point it felt like a clay oven.'

The piece Naqvi performs is called ‘Yes Mammal’, and was originally titled ‘Music for Modular Synthesizer, Dim Lamp and One Developing Melody.’ 'I wrote it in June for my first show in New York after a year and a half of not performing,' he explains. 'It’s evolved since then and I wanted to share it with Fact.'

'My background for a long time has been in acoustic music, where I write pieces and then share them with a group or individual to interpret. And from there they’ve made it into something larger. With the modular, I’ve been translating that way of thinking. Lately, I write a piece or a sketch and give it to an entity, in this case the synthesizer, and let it expand the music to more than just notes on the page. This piece is loosely written and I improvise with the material using the infinite possibilities of the modular synthesizer to give it shape in the moment. I like to think of it as live orchestration but with voltage.'

Naqvi has typically used this large-scale modular setup in the past to perform, but more recently he’s been experimenting with slimmed down systems to use in live performance settings. 'I’m making different and smaller hybrid configurations that are more tailor-made to the pieces I’m writing,” he says. “I still use this whole system when needed but it’s been an interesting exercise to slim down from time to time and make more with less.'

Naqvi’s most recent release is an EP titled Chronology, which was released on on Erased Tapes. 'It was made entirely on a very old and broken Minimoog synthesizer. It’s a special album that I made with a great relic.'

Follow Qasim Naqvi on Instagram: https://www.instagram.com/browniebonb...
Qasim Naqvi on Bandcamp: https://qasimnaqvi.bandcamp.com/

Credits:

Filmed and Recorded live at Pioneer Works in Red Hook, Brooklyn, NY
Video by Gabe Rubin, Wolfgang Daniel & Zack Shorrosh
Live Audio & Recording by Riley Stevens
Lighting by Matthew Mann
Production by Justin Frye"

Patch Notes: Finlay Shakespeare

video upload by FACTmagazine

"Finlay Shakespeare is an artist that operates in two worlds of electronic music. As the founder of Future Sound Systems, Shakespeare engineers Eurorack modules (including a series based on Chris Carter’s device, The Gristleizer) and standalone synths such as the Brunswick. As an artist, he makes gritty, ’80s-leaning synth pop that sits somewhere between Factory Floor and Depeche Mode.

On this Patch Notes session, the Bristol-based artist performs live with an array of vintage and analog gear, including an ARP 2600. Shakespeare’s two recent albums for Editions Mego, 2019’s Domestic Economy and 2020’s Solemnities, are available now. Find more music by Shakespeare at Bandcamp.

Finlay Shakespeare: http://finlayshakespeare.com"

Patch Notes: INIT

video by FACTmagazine

"INIT is the collaborative project of Berlin-based producers Nadia D’Alò and Benedikt Frey. The duo’s first album, Two Pole Resonance, was released back in October 2015 on John Talabot’s Hivern Discs label, showcasing the pair’s love of moody, krautrock-influenced synth compositions, which featured vocals from D’Alò.

INIT returned to the label in late 2020 with their second LP, Gravity. The album saw the duo adopting a more playful approach to songwriting, combining house, techno, post-punk and electro to create a lighter set of tracks than their debut. This eclectic style drives INIT’s Patch Notes session, which melds D’Alò’s lyrics with experimental sound design.

The session sees the duo make use of classic gear like Roland’s TR-808 drum machine and SH-101 synth, with contemporary hardware including a x0xb0x and SOMA’s Pulsar-23 semi-modular drum machine providing eerie textures.

INIT on Bandcamp: https://iinit.bandcamp.com"

Acidlab M1AM1/Miami. Haven't seen one in a while.

Chang Rodrigues on how analog synthesis, nature and ruins inspired her live act

video by FACTmagazine

"Chang Rodrigues is a Brazilian DJ and producer based in Rio de Janeiro, whose music has explored a range of genres over the past decade, from house and techno under the name Amanda Chang to experimental electronics under her current alias.

As Chang Rodrigues’ style has evolved, so has her artistic practice, which has seen her begin to incorporate modular and semi-modular synthesisers and analog gear into her workflow with skills learned at the La Siesta del Fauno studio from veteran synthesist Ernesto Romeo in Buenos Aires.

Chang Rodrigues’ artistic philosophy isn’t just focused on the technical aspect of synthesis, but a spiritual outlook that combines her love of yoga with a close connection to the natural surroundings of her home country. In this video, she explains how this dialogue with nature and the way in which ruins connect the past to the present has inspired the latest evolvution of her sound."

MSHR - Liquid Conglomerate Presence Cycle

video by FACTmagazine

"MSHR is the audiovisual performance collective of artists Birch Cooper and Brenna Murphy, a collaborative project focused on the building and exploration of sculptural electronic systems, cybernetic sessions that are captured as AV compositions, installation work and live performances. For the last decade they have toured the world with their unique, improvisational live show, centered around self-built analog synthesizers that use feedback from light and movement to create dense sonic landscapes. This innately somatic approach to synthesis is complemented with reactive visuals that form city-like circuitscapes, which are themselves extruded from diagrams describing the signal flow of MSHR’s electronic musical systems.

“The physical design of our musical interfaces comes out of our installation practice. It is important for the interfaces to have a poetic logic and facilitate deep, intuitive playing,” they explain. “This work explores the intuitive and technical gradients between sonic and sculptural forms, using digital chip conglomerates run as analog circuits and open-source software to sculpt mutually resonant hyperobjects.”

Liquid Conglomerate Presence Cycle marks 10 years of their singular performance practice, serving as a multimedia document of both the sound and visuals of their live show. The film is split into four chapters, Symbiotic Vocal Weave, Knotted Presence Tracer, Light Pulse Formation and Liquid Hand, with each chapter featuring a different improvisation with its own cybernetic framework. Recorded during a residency at the sound art organization Sonoscopia in Porto, Portugal, Cooper and Murphy describe Liquid Conglomerate Presence Cycle as a “a prism for the live set,” one that showcases the improvisational, exploratory DNA of their performance practice.

“In performing this composition, we act as agents within a synthetic ecosystem,” they say. “Improvisation inside a light-audio feedback system feels like moving stones in a river, interacting with an environment to shift the flow of its elements. These recordings capture the sonic dimension of raw electricity surging through a morphing constellation of analog computer chips, flashing bulbs and extreme (in)human presence.”

“This exploration comes out of an ongoing fascination with the emergent complexity displayed by the interwoven biological, ecological and technological structures that frame our experience as embodied humans today.” they continue. “Constructing and exploring our own synthetic generative systems is our way of engaging with these unperceivable fundamental forms.” Editing glimpses of live footage into the refractive textures of their lysergic circuit landscapes, MSHR visualise the emergence of the human from within the machine.

As much a response to their unique approach to improvisation as it is to the complex spatial theory that is central to their work, the pair have developed a reactive visual language to interpret the insertion of somatic gestures into electronic forms. Over its four chapters Liquid Conglomerate Presence Cycle represents a comprehensive statement from the duo in this language, tying together the many facets of their varied audiovisual practice.

Liquid Conglomerate Presence Cycle will be released collaboratively by Sonoscopia and Ehse Records. The sounds Liquid Conglomerate Presence Cycle of will be available via Ehse Records on May 14."

Patch Notes: Alex Epton

video by FACTmagazine

"Alex Epton is a multifaceted producer and composer (also known as XXXChange), whose in-house role at XL Recordings has seen him work with FKA twigs, Arca and Jamie xx.. IN 2019 he collaborated with cellist Lucinda Chua on the soundtrack for the documentary film 3OHA.

Epton’s own personal studio practice focuses heavily on hardware, including modular synthesis and tape loops. In this episode of Patch Notes, recorded ahead of the release of his new EP The Episodic Buffer Vol 2, he creates an experimental piece with a selection of Verbos Electronics modules and touchplate controller together with manipulated vocals.

“Iʼm not using any fancy loop length randomization here on this patch although thereʼs some clips of that implementation on my Instagram,” Epton says. “Also the Verbos Electronics YouYube page has a well explained example of how to set that up.”

“The basic set up here is: Row A – CV out hits voltage scaling then into a quantiser locking it to an arbitrary major scale then into the v/oct input on oscillator A. Row B – CV out hits voltage scaling then into a quantiser, chromatic this time, then into the v/oct input on oscillator B.”

“Each channel of control voyage processor has an input for additional voltage to be added to the sequencer control voltage. This is our first transpose input. Here both sequences are transposed by the master variable CV out on the touch plate keyboard.”

“Thereʼs a second transpose input for oscillator B on the secondary CV in on that oscillator. You can see in the video itʼs got tape on it because the attenuvertor knob that scales this input is super sensitive and prone to accidental nudging. This second layer of CV transposition Iʼm using to drop oscillator Bʼs pitch to make some tension harmonies agains the main sequence. These tension notes are linked to three individual gate outputs on the touch plate keyboard. Those are summed together before they hit the attenuvertor.”

“So with this set up Iʼm happy to have only eight steps because thereʼs a lot of variety that can still be achieved. Also some interesting chromaticism can happen in the harmony when the one CV stream is quantised chromatic VS locked to a scale. A few individual gate outs on the top of the sequencer are summed together to trigger the drum that comes in midway through.”

“Thatʼs pretty much it. I used a tape loop of some manipulated vocals to get some extra atmosphere / randomness going – something to react to. That loop is manipulated through the rooms. Everything comes together at ye olde Sony 8 channel mixer. And recorded into a UA Apollo twin. Also the synth outputs are feeding an oscilloscope in X/Y config.”

The Episodic Buffer Vol 2 is released on May 7. Epton has also created an exploratory video game as a companion piece to the EP, in which you guide a six-limbed being through a psychedelic world.

Listen to ‘Games’, the first single from the EP here: https://alexepton.ffm.to/games​
Alex Epton on Bandcamp: https://alexepton.bandcamp.com​
Alex Epton on Instagram: https://www.instagram.com/alexepton/​"

Patch Notes: Peace Chord

video by FACTmagazine

"Peace Chord is the solo alias of Daniel Robertson, a Vancouver artist who is also a member of sprawling musical collective Crack Cloud. On his debut self-titled solo album, released last month, Robertson crafts a personal collection of songs that combine voice, piano and synthesiser.

On this week’s episode of Patch Notes, recorded in the shed and studio where Robertson recorded much of the album, he performs a session with a Buchla 200 clone system that he during the LP’s recording, a modified Marantz PMD-221 as a tape delay, a Prophet 6, a Rhodes MKII and his old upright piano.

'In terms of the synthesis patch used for this piece, here are some of the key ideas,' Robertson says. 'I use the 296 Programmable Spectral Processor to process vocal loop layers, giving each layer a specific resonant frequency range. I use the first 9 steps of the 248 MARF as a sequencer, which is clocked by the Prophet 6 arpeggiator in order to create an unpredictable pattern of harmony between the Prophet and the Buchla. The remaining 7 steps of the MARF act as a rudimentary wavetable oscillator. The 208 Stored Program Sound Source provides a complex oscillator, low pass gates, and a preamp to connect my voice, the modules and the musical ideas.'

'I find it important work with a limited amount of variables, in order to maintain a musical conversation with myself. At the root of my synthesis process, it’s still more about songwriting for me; songwriting as a means of processing, reflecting. I also play synthesizers (among other instruments) in the art-punk collective Crack Cloud. Peace Chord might seem somewhat antithetical to Crack Cloud. Peace Chord is steeped in interiority, quiet, and derived from solitude, whereas Crack Cloud is communal, vibrant and vibrating with energy. But they both feel necessary for me.'

Peace Chord’s debut album is available now on his Bandcamp: https://peacechord.bandcamp.com/album..."

Patch Notes: TM404

video by FACTmagazine

"Swedish producer Andreas Tilliander started out as one of the ’00s glitch scene’s most notable artists, but for the past decade he has created dub techno-inspired music with his extensive collection of modern and vintage hardware under the TM404 alias.

Tilliander’s latest album as TM404, Syra, is a combination of high-energy techno for the club and the kind of dreamy acid dub tracks that characterised the project’s self-titled debut from 2013, due to Tilliander being restricted to a small collection of equipment as it was partly recorded in a studio flat in Berlin as part of an artist residency.

On this week’s episode of Patch Notes, filmed at his studio in Sweden, Tilliander has access to his full range of equipment and records an experimental dub techno set that makes use of everything from an EMS Synthi A to Elektron’s Analog Rytm.

Syra is available now on Bandcamp: https://kontra-musik.bandcamp.com/alb...

Filmed by Lisa Ulfves and Kristofer Ulfves"

Patch Notes: Heinali

video by FACTmagazine

"Heinali is the alias of Ukrainian composer and sound artist Oleg Shudeiko, a musician who works extensively with modular synthesis.

On his latest album, Madrigals, he takes inspiration from the music of the Middle Ages, utilising historical instruments such as the theorbo lute and baroque alto viola alongside generative synthesis.

In this episode of Patch Notes, recorded live at Ostriv in Kyiv last year, Heinali keeps things simple, crafting a dreamy performance with a compact modular system.

Madrigals is out now on Injazero Records. Find the rest of Heinali’s music at Bandcamp.

Heinali on Bandcamp: https://heinali.bandcamp.com​
Madrigals: https://heinali.bandcamp.com/album/ma...​"

Patch Notes: MarcelDune

FACTmagazine

"MarcelDune’s music occupies two poles, playing off hard-hitting rhythms against abstract, woozy sound design. At the heart of her practice is a modular system, with digital effects and field recordings adding character to her sci-fi techno productions.

On this episode of Patch Notes, MarcelDune records a 12-minute live set that explores the breadth of her sound, moving between ambient textures, chaotic tones and relentless modular drums with ease.

MarcelDune’s latest EP, Preternatural, is available now on Repitch Recordings. Find the rest of her catalogue at Bandcamp.

MarcelDune on Bandcamp: https://marceldune.bandcamp.com
Preternatural EP: https://repitch.bandcamp.com/album/rp..."

Patch Notes: Hélène Vogelsinger

video by FACTmagazine
"As part of the practice behind Hélène Vogelsinger‘s modular synth compositions, the French singer and sound designer explores abandoned places and connects with their energies to create immersive and suspended moments. “I love the fact that they have layers of stories and histories, with different occupants, often crossing times, and always full of beautiful and melancholic poetry,” she says.

Prior to this episode of Patch Notes, Vogelsinger went on a 800km trip to visit an abandoned cloister, where she took pictures, videos and recorded soundscapes. She then came back to her studio and started to create the musical foundations based on what she experienced during that day. “I always compose my main sequences and record the vocals and instruments upstream,” she says. “It is the first phase of creation.”

A few weeks later, Vogelsinger returned to record the finished piece, but the building wasn’t accessible. But on her way back home, in the south of France, she came across an abandoned castle, “an improbable apparition”, in the middle of an industrial zone. “With Chalisk, who films all my sessions, we were amazed and shocked at the same time,” she says. “We were amazed by this place’s aura and energy and shocked by the way it has been ransacked.”

Although the piece wasn’t recorded for the space, the castle’s own history (the family who lived there helped refugees who fled war) and aura made it suitable for the session.

“The installation and the recording session are always a process within the process, which takes a few hours. Technically it requires a good organisation: three modular cases and hundred of cables, a generator, a camera, lights and again so many cables,” she says. “It is something really intense, especially in those types of abandoned places, where you have to avoid a lot of obstacles.”

Vogelsinger’s latest album, Contemplation, is available now on Modularfield: https://helenevogelsinger.bandcamp.co...

Video by Chalisk Pito"

Fact Live: Paranoid London

FACTmagazine

"The third in our new series of live sessions filmed behind closed doors by Fact at 180 The Strand is a cathartic set of raw acid house and techno from Paranoid London, the hardware-heavy project of Quinn Whalley and Gerardo Delgado.

When Paranoid London first emerged in 2007, their music provided a gritty counterpoint to the European minimal sounds and disco edits that proliferated at the time, and their vinyl-only releases gained them underground success at a time when the format was in decline.

In the 13 years since, the project has been host to a rotating cast of guest vocalists, including A Certain Ratio’s Simon Topping, Arthur Baker, Josh Caffe and the late trans activist and DJ, Bubbles Bubblesynski. On this performance they’re joined by regular collaborator Mutado Pintado with visuals by Bob Jaroc.

Classic drum machines and synths such as the Roland TR-808, TR-909 and SH-101 lie at the heart of their setup, with acid lines provided by the Cyclone Analogic TT-303 Bass Bot. Effects come from a host of cheap Korg Monotron Delay units, which slather vocals and synths in a grimy echo.

Paranoid London’s latest album, 2019’s PL, is available now. You can find the rest of their catalogue, including their ongoing series of edits, at Bandcamp."

Patch Notes: Minimal Violence

FACTmagazine

"Minimal Violence are Ash Luk and Lida P, a Vancouver duo who make raw, hardware-based techno with shades of industrial and ’90s trance. Since emerging in 2015 they’ve appeared on labels such as Technicolour, Lobster Theremin and Berlin institution Tresor, which this year released the first in a three-part EP series.

On this episode of Patch Notes, Ash offers an early preview of Minimal Violence’s new live direction with a solo live set from their studio. 'What I’m using here is mostly what we would use for our live set with a few additions,' Ash says.

'MPC1000 at the helm of everything, sequencing the kick, breaks, synths and other sounds. The MPC is the key point of construction for moving from track to track in the set, it allows for the flexibility of bringing different parts in and out but still provides some structure as to different pre-selected segments available per section.

'The 707, 606 and 909 are all synced via the MPC but programmed externally so allow for some more fluidity throughout the live sets. The Moog DFAM is a new addition to add more texture to employ in parts to flow when moving from track to track. Additionally the DFAM is sending out a VCA to the modular to rhythmically change the texture and pan of the effects.

'For external effects we have our modular setup on one send and the OTO BIM delay on the other. We’re only starting to tap into the world of modular I but want to continue integrating it into the live setup, the focus is on employing the modular setup to process external signals to create and modulate otherwise unimaginable effects that bring in their own creative flow to the mix.

Phase Two of their three-EP series is planned to drop before the end of year on Tresor. Phase One is available now and you can find the rest of their catalogue on Bandcamp.

https://soundcloud.com/minimalviolence
https://tresorberlin.bandcamp.com
https://minimalviolence.bandcamp.com"

Against The Clock: Tangerine Dream

FACTmagazine

"Against The Clock is a series where we give an artist 10 minutes in the studio and see what they come up with.

Tangerine Dream is one of the most enduring electronic acts of the 20th century. Formed by Edgar Froese in 1967, the act went through multiple iterations but came to define a generation of ambient and new age music whose influence can still be heard on film scores and synth albums today.

Although Froese died in 2015, the band still performs under the stewardship of Thorsten Quaeschning, who joined the band under Froese in 2003. On this episode of Against The Clock, Quaeschning is joined by Hoshiko Yamane and Ulrich Schnauss, who combine synth, violin and guitar to make a track in 10 minutes.

Tangerine Dream’s latest album, Recurring Dreams – a collection of new versions of classic Tangerine Dream tracks – is available now.

Filmed by Frank Zerban
SHOW LESS"

Patch Notes: Wallis

FACTmagazine

"This week’s episode of Patch Notes features a pummelling session from rising techno iconoclast Wallis. The producer, DJ and mastering engineer is fast becoming one of the most unique members of the Berlin scene, blending extremely hard and fast productions with sensual melodies and vocals.

This performance sees Wallis utilising her usual setup for live shows, which consists of modular synthesis, an Elektron Octatrak sampler, Arturia’s BeatStep Pro sequencer and guitar effects pedals. “I would say I am more on the West-coast end of the synthesis spectrum”, she explains. “I like very complex and somewhat surprising results because this is, in my opinion, how you get the most unique sounds, which is what modular synthesis is for me.”

“Modular is for me testing the limits of a system. It’s also about controlling those unpredictable outcomes, especially in my type of techno that really wants to be dance floor friendly at all times. It’s all about balance I guess. Making it as weird and interesting as possible but still pretty damn four to the floor, for the most part.”

Wallis is a resident at LSDXOXO’s Floorgasm. The first outdoor edition of the beloved party will take place this Saturday, August 29, at Berlin’s Trauma Bar Und Kino.

For more music from Wallis and friends, check out her label, Jell."

Patch Notes: Emiliano Melis

FACTmagazine

"Emiliano Melis is a sound designer and composer based in NYC who combines analog and digital instruments to create a rich sound built with layers of melodies and rhythms.

On this episode of Patch Notes, Melis composes an evolving ambient track using a long stretched tape, plugged into a Strymon DECO saturator unit running a background texture. On top, he uses an Elektron Digitakt sampler and TASCAM Porta-05 four-track recorder to play tracks, patterns and sounds. This style of electronic composition is exploired on his new album, Tape and Polaroids, which is released on September 18 via Mother West.

Website: http://www.emilianomelis.com"

Patch Notes: Scott Campbell

FACTmagazine

"Scott Campbell is a synthesist, sound designer and engineer based in New Orleans, LA. He runs boutique company Onde Magnétique, whose OM-1 cassette synthesizer uses tape to create pitched soundscapes, and creates ambient music using a number of setups that he often presents on Instagram and YouTube.

In this episode of Patch Notes, Campbell records an improvised ambient piece incorporating samples from a Roland MC-707, looping and granular synthesis on the ER-301 Sound Computer, euclidean rhythms from a Dnipro DOT pattern generator, with live audio processing through a modified Marantz PMD430 three-head cassette deck."

---
Calsynth case with a bear logo.

You can find previous posts featuring Scott Campbell here.

Patch Notes: Maciek Polak (Pin Park)

FACTmagazine

"A live session with four VCS Synthi instruments.

Maciek Polak is a musician based in Gdańsk with a love of vintage analog gear who performs as one half of improvisation duo Pin Park. He doesn’t just make music with it – he also runs Analogia, an analog synth store and repair centre for rare electronic instruments.

When Polak got in touch with Fact to let us know that he would have his hands on four classic EMS Synthi instruments (one VCS3 and three Synthi A models) for a limited time and offered to record a live session with them and his RC-505 looper, we couldn’t say no.

Watch the session above and find Polak’s music at Bandcamp.

https://www.instagram.com/analogia.pl...
https://pinpark.bandcamp.com"

Against The Clock: Bloody Mary

FACTmagazine

"Against The Clock is a series where we give an artist 10 minutes in the studio and see what they come up with.

Bloody Mary has been a fixture on Berlin’s techno scene since she arrived in the city from France in 2005. In 2010 she founded her own label, Dame-Music, which has released music from artists like KiNK, Thomas P. Heckmann and Innerspace Halflife.

In the studio and on stage she makes use of classic gear such as the Roland TR-909 and TR-707 drum machines with modern equipment like the Mode Machine Xoxbox and Dave Smith Pro 2. We paid her a visit to see what kind of techno she could create in just 10 minutes.

Bloody Mary’s latest release, a collaborative EP with Cardopusher, is out now. Find the rest of the Dame-Music catalogue at Bandcamp.

Filmed by Frank Zerban

https://soundcloud.com/bloody-mary
https://dame-music.bandcamp.com"

Patch Notes: Kaitlyn Aurelia Smith

FACTmagazine

"Last month, West Coast composer, artist, and producer Kaitlyn Aurelia Smith launched her latest album, The Mosaic of Transformation. With the world locked down due to the coronavirus pandemic, she experimented with live streaming as a way to launch the LP in lieu of being able to perform at venues.

In this episode of Patch Notes, we present an exclusive archive video of one of those live streams, which features an extended version of album highlight ‘Expanding Electricity’ performed with Buchla modules and touchplate controller alongside visuals by Sean Hellfritsch originally made for the tour.

The Mosaic of Transformation is available on now Ghostly International and can be purchased at Bandcamp. Smith also recently launched a multidisciplinary platform called Touchtheplants, which releases music and art, including a book and deck of cards called Listening. Touchtheplants is also raising money for Black Lives Matter LA with a limited edition T-shirt sale with all proceeds going to the organisation.

https://kaitlynaureliasmith.bandcamp....
https://ghostly.com/products/the-mosa...
https://www.touchtheplants.com"