Supreme Balloon, Matmos’s new album, is out.
“Supreme Balloon” is an ALL SYNTHESIZER ALBUM. Old synths, new synths, MAX patches, one-of-a-kind modular rigs, decrepit consumer electronics of the 60s, 70s, and 80s, boutique effects pedals, tabla drum machines from India: it’s all there.
Collaborators include Keith Fullerton Whitman and Terry Riley (above).
COMPOSERGASM
Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there? Knock knock. Who’s there?
By the way: why is Philip Glass so well regarded and talked about? I’m not saying he sucks (though I don’t care for most of his music), but others from his circle—Steve Reich, Terry Riley, and, nearest and dearest to my heart, La Monte Young—are significantly more compelling composers.
