skoddie(dot)com
skoddiemusick
All albums are available at http://skoddie.bandcamp.com unless otherwise noted.
Live sets are detailed at SkoddieLive and are available at http://skoddielive.bandcamp.com.
Many (but not all) albums are available on iTunes, Spotify, Amazon Music, etc. Simply search for "Skoddie".
I also curate and contribute to challenge compilations for my Facebook group Electronic Music Philosophy on a six-week cycle. These are available at http://electronicmusicphilosophy.bandcamp.com
Conscious Separation*
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My return to music after a 6-year hiatus caused by a mental break. Focused on ambiguity, and designed to let the listener ascribe their own meaning to it. |
Biaxially-Oriented Polyethylene Terephthalate*
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A VHS Concept album that I began on my birthday in 2015. It grew out of my excitement towards Vaporwave combined with my fear of producing more conventional music. |
χmas Album*
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A "joke" album I created in less than an hour. It was created by manipulating samples of my least favorite christmas music, and I had hoped to capture the sense of isolation and despair that christmas often represents to me. As the years have gone by this album has gained popularity, and even I am surprised with the depth of the statement it makes. |
Katzenmusick
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This is a live album, and the fruits of my desire to perform a show on Twitch. The music was entirely improvised using piano, synthesizer, computer effects, and on one track I tried to sing. |
Generations
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The results of my experiments with Reaktor 6.0. Each track is a different generative patch, which means that once loaded they will continue to play themselves in a semi-random fashion. In theory each patch can perform itself indefinitely. For a time I had expected that this would be the first in a series of generative works made with Reaktor, however my style evolved more towards drone music and I didn't feel right putting the generative moniker on them. |
協議離婚
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The title is a complex translation/interpretation of the phrase "Irreconcilable Differences" into Japanese. This is my quintessential Vaportrap/Vaporwave album. Taking over 11 months to produce, this was the realization of my ability to produce music within a more-conventional form, and do it quite well. Part of me had hoped that this album would get me some larger level of notoriety. Conceptually, this album explores a lot of my childhood, and the samples used frequently call back to specific experiences in my life. |
On Saturday, After School
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This album was the combination of my desire to make an album in a similar style to Nmesh, a tribute to the shows I used to watch while growing up, and my usual habit of making a ton of music on three day weekends. The entire record was created during a Twitch livestream, though on day 2 I got a little 'tryhard face'. This is a very 'traditional' vaporwave album, and doesn't feature quite the level of sample manipulation I've become known for, but it succeeds at communicating the dreamstate of my childhood. Fun fact: the original title of this album was Saturday Morning, After School, but I mistyped it when creating the cover art and didn't want to go back and redo it. |
(Pi)ano Phase
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This is my performance of Piano Phase by Steve Reich, which was inspired by an tutorial example that ships with Sonic Pi. I expanded on the example by adjusting the tempo and phase, doing a little sound design, and adding a polymetric bass line and bell accent. I also programmed in the third melody of the piece at the end. I may go back and revise it at some point to include all three melodies. This entire piece started as a Sonic Pi practice session, but I was so pleased with my work that I decided to release it. |
Eight Twelve EP
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An experiment in making some fairly intense breakcore in 7/7 and 11/11. While many may say those time signatures do not exist, I was trying to capture a rhythmic feel that didn’t sound like it was compounded. I’m not sure I succeeded in this, as much of it has something of a free time feel to it. |
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A surprisingly successful experiment in making a piece of drone music that could be run for hours without boring the listener. While this release is slightly over 2 hours, the patch could run for days without technically repeating itself. |
ベンディー・ｾｯｸｽ・ホゥイッスル
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A saxy lo-fi vaporwave split with ＮｕＲｅａｌｉｔｙ. This began life as a series of tracks for a split with //◭// ｈｄ ｎｅｔｓｃａｐｅ //◭// in the summer of 2017, and after sitting on the shelf for a few months ＮｕＲｅａｌｉｔｙ stepped in to complete it. |
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My first release using my Eurorack modular synthesizer. I tried to create a patch which used everything that could be an oscillator as an oscillator. After some positive feedback from friends in a Facebook group, I decided to record and release it. |
Sinebeat Equations
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This album is the result of my experiments in using ByteBeats to modulate sine waves. It covers four equations I was particularly fond of, and is presented at two sample rates. While the tracks sound similar at different sample rates, the carrier frequencies of the sine waves stay the same which creates interesting variations. The equations were also used to generate the cover art, not including the lettering. The actual data used for the cover is identical to the 48k presentation, just interpreted as 8-bit greyscale pixels instead of 8-bit audio samples. This album is fully open source. |
Make Techno Queer Again: Vol. 1
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The first in a series of studio techno sets recorded in a single take. This is intended to be a snapshot of the techno I'm making at a particular time, and over the course of the series it should show my progression as an artist. Never forget, #maketechnoqueeragain |
Technically Inaccurate
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Technically Inaccurate began life as a collaboration piece with Glenn Sogge. I created a Reaktor patch which he was going to use to create a new piece, and I was going to do the same with a patch he created. Unfortunately my patch ended up being too intense for his machine, so he ended up running my audio through a new patch instead.
I was happy with the output of our collaboration, but I also felt that the output of my patch was strong as it's own piece. I went back in and made further tweaks to help it function in long form, resulting in this album. This meandering piece is generated by a massive digital logic tree being triggered randomly, feeding back into burst generators, both of which control a series of audio gates as well as over 12 modulators. Beginning at the 30 minute mark, the piece is further processed by additional stacked delay circuits which culminate in a cacophonous mess before abruptly halting. This album is available at Studio 4632 * |
sinbeat(\]\[);
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This album is the second set of experiments using ByteBeats to modulate sine waves. I expanded my code to run at 44.1khz and 16-bits, then experimented with modulating more parameters than I had on Sinebeat Equations. This album includes 8 equations running at a single sample rate, however in some cases the code is more complex than a simple ByteBeat.
The cover art was created by A M K A D E using bitmap renderings of the music. This album is available at Bit Rot * |
DEEP FRIED SYNTH
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🍟 |
Make Techno Queer Again: Vol. 2
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The second in a series of studio techno sets recorded in a single take. This snapshot represented a maturity and deepening of my sound as it expanded to be a more expansive force. #maketechnoqueeragain |
Warm Leatherette
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A cover of the track by The Normal made famous by Grace Jones. This was released as a benefit to help cover the costs related to a serious car accident. Recorded in an attempt to get the trauma out of my system. |
Come to Daddy
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A cover of the Aphex Twin track. Released for free as a thank you to those who contributed to the Warm Leatherette benefit. |
Make Techno Queer Again: Vol. 3
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The third in a series of studio techno sets recorded in a single take. This set came after a long bout of depression, and attempts to capture my struggle with it sonically. #maketechnoqueeragain |
Business Techno
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A riff on the Business Techno meme, this EP is sort of a vaporwave/techno crossover. Harsh beats with cheesy computer sounds. |
Femininity: An Expression Thereof
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A somewhat intirm techno release, this album features two refined studio recordings of patches used live in late 2019. The cover art was made before the content of the album was determined. |
OBLIGATORY LOCKDOWN ALBUM
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This album was the result of the palpable anxiety caused by the early stages of the COVID-19 lockdown in 2020. I felt a lot of pressure to CREATE and PRODUCE while stuck in the house, and this is what came out. I've often described it as the goth gf of a sound bath. |
Ciat Lonbarde Sessions
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13 hours of recordings as I was getting myself familiar with my Plumbutter, Cocoquantus, and Sidrax Organ. I originally wasn't going to release this, but my bandmate urged me to (for his own gain), and the release has garnered quite a few fans as a result. The evolution in technique is clearly audible, and one of the tracks was used as raw material for a track on Cynthetic Delirium. |
Cynthetic Delirium
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A monumentous effort into creating industrial moon music. Featuring lyrics written by Lexx Saint Leonard, this album was released as a 3-Sider by Spider Baby Records. The first side was on a lathe cut record, and the second two were on compact cassette. This is deep, complex, contemplative music. |
Are your hexagons aligned?
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Deep, slow, ritualistic music. This is music to meditate to. This is music to unwind to. This was performed live with additional elements as THEE HEXAGON RITUAL, and both versions are designed to work their way into you and determine if your hexagons are aligned or misaligned. |
The Reassuring Safety of Reciprocal Motion
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This record was created by attaching a magnetic telephone pickup to a Hitachi Magic Wand, while the wand was in use. This is drone/harsh noise music designed to convey a place where I feel safer than almost any other. |
Make Techno Queer Again: Vol. 4
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My first techno record where the drums weren't handled by a modular synth, and the results are extremely clear. Modular synths were still used, but a number of recorded samples, as well as sharply mixed drums bring this record to the next level. Vol. 4 represents a serious shift in style, and the successful realization of a sound I had been trying to cultivate for quite some time. |
![sinbeat(][);](/img/coverart/sinbeat2.png "sinbeat(][);")
*These albums are stylistically linked, and were all produced with essentially the same technique of layering heavily manipulated samples of commercial music.