Digipak CD out July 7th, 2023 (Pre-order available now). Experimental/Electronic/Noise/industrial
“333” was set into motion by the fact that I have been seeing that sequence of numbers almost every day since 2003, to this day. From 2004 to 2010, I dealt with severe insomnia, and worked somewhat feverishly on forcing some concept of instinctual closure, which would not come until 2010.
Essentially, what took so long was the dismantling of presets and trying to force too many automated events to happen at once, until malfunctions began to happen. The chip in this particular (Yamaha Rm1x) sequencer was apparently as such that there was potential for animated movements to be manipulated through the sequencer, when forced into different chains of events, not to mention layers. So, in short, what was happening was less “composition” and more “corralling” these errant sounds into something that encapsulates how compelling they can be sometimes.
When the first sequencer I'd bought started wearing out, I picked up the exact same model again, to finish this project. I found that the malfunctions and glitches were different, maybe a different chip; less tangible malfunctions, but it still honored what I had built previously, saved on floppy disks. This forced me to be more musical, but also allowed me some leverage with previous saved malfunctions.
From 2004 to 2010, most of my solo live “performances” were made up of “programming” these malfunctioning sequencers for as much as 27 hours straight. I did a couple of “sound installations” and “presentations” about these malfunctions, at art galleries and sound spaces. Other times, in a more rock venue context, I'd sit on stage and shave my head while the program was playing, or I'd read a book, or I'd wear an odd costume, and stand around smoking cigarettes and doing nothing while the malfunctioning arrangements played. The unspoken premise was that I didn’t sleep at least until the piece was exhibited live, and (somewhat inspired by performance artist Chris Burden), I generally worked nonstop outside of other obligations until the show.
I'd released mostly handmade CD-Rs from 2000 to 2008, with variants of these early versions, and in 2010, I released a cassette as well as a pro-CDR version of “333”. I disseminated at least 700 copies of that CD-R, but never released it on a more final format until now. With new art, “333” comes in a 6 panel digipak, in an edition of 333 copies, with a special “mirrored/silver” stock edition of 33. The standard version is available for $3.33 (plus shipping).
-Arvo Zylo
Some initial praise for “333”:
“…this recording feels like it had to be made, and it transcends its limited equipment resources as if the music couldn't be stopped…”
“….Arvo Zylo's work is often the product of literal years of toil, the potent result of countless hours refining, perfecting, and focusing wild energies. Projects like his “333” and “Assembly” feel more like they've been finished in a metal refinery than a mastering house, their labyrinthine vertical layers chosen and fixed in place with firm force.”
Scott Scholz (Tymbal Tapes, Polley Music Library)
“A technicolor nightmare…” “…A cyber punk thrill ride” “…totally assaulting music without actually relinquishing the conventional rules of what music should be.” – Drew Dahle (Auxiliary Out)
BANDCAMP