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cable theory vol. 1

by Drew Morris

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Alex Eddington
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Alex Eddington This album has a nice arc and lots of surprises. I'm a fan of the synth organ sounds in "a2" particularly, and the minimalist drive makes me think of Phillip Glass, but more layered and nuanced, with dark detours. Surprisingly emotional Epilogue! The last track ("Intonation Study") is most up my current alley though. These days if I could go live inside a harmonic series, I would. This music at least creates the illusion of my desired sound-nest. Favorite track: Intonation Study.
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  • Cassette + Digital Album

    I printed a limited run of 5 cassettes for my first public outing in 2021. Apparently no one was in the mood for cassettes at that convention, but the good news is that now I have 5 tapes available to my loyal Bandcamp fans!!

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  • First Printing of 10
    Cassette + Digital Album

    The first printing of 10 has sold out!
    If you missed out on getting a copy and really want one, reach out to me and let me know. I might be convinced to run a second printing if enough people want a copy.
    ---
    Only 10 copies available in the first batch. All made right in my studio. If they prove to be popular I might end up doing a professional 2nd run.

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    Includes unlimited streaming of cable theory vol. 1 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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Chase 04:56
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a2 09:32
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about

--Tracks 1-5 are collected here as if they are “Side A” of a record or tape. I feel they fit together nicely and are complete by themselves. Track 6 acts as “Side B” and can be experienced as a long concluding movement to follow the previous five tracks, or as its own self contained piece.--

This album is a collection of some of my first experiments in electronic music. My first time having to use cables that I can recall. Up until a few years ago I was exclusively an acoustic musician and composer. Around the time I quit my job as a band director to focus full time on composing, I bought my first legit electronic keyboard. Soon after that I started experimenting with the synthesizer functions built into the keyboard and it all snowballed from there. I was purchasing effect pedals left and right, buying vintage keyboards, modular synthesizers, multitrack cassette recorders, toying with DAWs, and of course; cables, cables, and more cables.

The music contained in this volume is predominantly peaceful in nature. It seems like most of my electronic music lately is more ambient in nature. I suspect it’s my way of trying to remember the peace I used to feel when I lived on 10 acres surrounded by trees on the top of a mountain, whereas now I live in a noisy subdivision with a neighbor who drives a car that seems as loud as a spaceship. I found myself listening to a handful of these pieces on repeat in hopes of drowning out the noise of the city around me. Maybe it can do the same for you.


Side A Suite
Prologue: Plug in - Originally intended to be the opening of an “electronic suite”. This is some of the first music I created using GarageBand, utilizing a combination of live recorded sounds and computer synthesized sounds. Also features Amos Cochran on piano.

Music for a Slowly Filling Venue 3 - Originally written to be played as the audience is drifting into the venue over the p.a. system before concerts of my yet-to-be-created chamber ensemble. Written/recorded exclusively using Audacity.

Chase - Recorded and overdubbed one evening in three single takes exploring the different layers that “delay” could add to my improvising.

a2 - One of my first pieces to be created as a recording first and later transcribed to written music. Created with a click track and many layers of overdubbing in Audacity.

Epilogue: Unplug - Meant to be the closing movement of the “electronic suite” that began with “Prologue: Plug in”. After assembling the other tracks of the album I felt that the “electronic suite” actually served better as opening and closing material for the first half of the album.

Side B

Intonation Study - This piece is a long meditation on slightly different tuning constants. This piece came about when I was experimenting with a semi-modular synthesizer and couldn’t quite get the later tracks I was recording to match the tuning of the previous layers. But as I listened to how they beat against each other, I decided to lean into it and create a long piece that is constantly drifting in and out of tune. It was initially inspired by the work of Craig Colorusso’s “Sun Boxes.”

credits

released March 3, 2021

Music composed, performed, and recorded by Drew Morris
Additional guest performer - Track 1 - Amos Cochran, piano
Mastered by Andrew Rodriguez
Released through Odd Pop Records

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Drew Morris Springdale, Arkansas

Composer/Performer based in Springdale, Arkansas, specializing in music for winds, percussion, and electronics.

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