LapCore - Fear_of_D[istraction]

With Fear_of_D[istraction] (fb101) LapCore continues his exploration of digital audio synthesis and distortion techniques, researching the complex tonal digital structures he a ectionately refers to as cTonality. In contrast to the more upbeat and aTonal album LapCore 132 (his 2017 full-length self-published release), Kent Clelland has freed himself to explore the darker, and more cerebral faces of computer music composition. With multi-channel oscillators he brings sonic entrainment into the musical range of frequencies as opposed to the typical sub-audible entrainment frequencies, composing melodic and harmonic parts with the artefacts to create cTonalities.

Weaving polymetric binaural oscillators with a lopsided bass drum engine, he lulls your senses into a state of receptivity upon which he then sews synthesised tapestries inspired by his hyper-perceptual, cancer-treatment-in uenced dogma adventures in the pre-pandemic delirium. LapCore produces these tracks as an attempt to preserve his brain damaged audio hallucinations, sharing them in a venue larger than the space between his ears.

The performance of LapCore’s Fear_of_Di[straction] (2017-2022) is a 48 minute sonic quilt of recordings of AI Musical Agents during training sessions intricately hand-sewn into the fabricated projection of the audio dimension.

Biography

Steeped in the waters of West Coast DIY computer music in the 1990’s, LapCore is a Kent Clelland persona that codes software instruments and AI musical agents to perform them. His prior releases on fals.ch (fb47, fb17) put forth complex tonalities stemming from the collateral soundings of patterned damage to resynthesis bins, whereas LapCore’s contemporary aesthetic arises out of the artefacts from multi- channel oscillators.

Producing and performing as LapCore, KENT, or K∑ñ†, Clelland has been exploring the extremes of distortion in digital musics over three decades. His 1999 fals.ch debut release Hoerfehler (fb17) explored the limits of spectral-resynthesis-distortion techniques. The 2000 follow-up album OXIDE (fb47) Kent levelled up by building a robotic percussion instrument as source input for analysis/resynthesis bin damage.
Full stack composer.