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Executable Dreamtime is Brett Naucke mapping reoccurring dreams with modular synthesis. Creating a patch per dream. Using Melody generators and sequencers that evolve and play off one another, so that once he sets the patch going it grows and develops itself, but with certain set rules that he has created. These pieces are highly conceptual, but are also stunningly musical and accessible. Beautiful.

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  • Tape £6.99
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  • UR091
  • UR091 / Tape on Umor Rex
  • Includes download code

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Executable Dreamtime by Brett Naucke
1 review. Add your own review.
2 people love this record. Be the 3rd!
9/10 Robin Staff review, 25 July 2016

Umor Rex bingo: does the press release have “modular synthesis” in it? You sunk my battleship. We love it though: the label has been going from strength to strength with its abstract, sometimes meditative, often chilly records. Of the tape batch recently dumped into the world, though, Brett Naucke’s might be the loveliest, a noisy but brightly giddy release that speaks to how comfortable things can seem in the most confounding dream.

On ‘Executable Dreamtime’, Naucke puts one patch to a synthesizer at a time to speak to the different tone palettes of his dreams. While often noisy, confused and high in frequency, these excursions are accessible, offering a sort of primer of the dreamworld without weaving too much of the story contained within it. The opener is a lovely journey with a tinny rhythm fit for a video game start-up screen. The automated melodies generated for each track sound fresh, growing into their own but never losing their original twinkle -- “1028 Modulated Tunnels” doesn’t last long, but lands on a squeaky IDM sheen that wouldn’t be out of place on a FRIENDZONE instrumental for Main Attrakionz. Could Naucke make hip-hop beats? Yes. Sure.

“Dying Season ‘93” shows that Naucke can let the patch be -- giving his electronics the space to learn to walk and talk their own way -- while also determining the environment it’ll best do that in. A lovely piano figure underpins the scarred noise, which sounds torn in a hundred different directions, while ambient sheen comes in as if to clean up proceedings. I’m reminded of label pal Kara-Lis Coverdale: his messy ideas come in big, beautiful layers that help clarify one another. Modular expect Laurie isn't here to approve this, but I'll go all in on a 9 and face the consequences later.


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