AM/FM by AM/FM

To make this album, I forced myself to make a unique, 10-minute experimental improvisation every day for six days. This is the result of that experiment.


“5-16-2025” consists of an improvisation with a stereo system, processed through various effects (distortion, wah-wah, tremolo, and delay feedback). The sounds in this recording are produced through the manipulation of delay speed, wah-wah played with an expression pedal, and switching between AM/FM, frequencies, and functions on the stereo.

“5-17-2025” consists of an improvisation with synth and delay feedback, backdropped by field recordings. The synth is put through a harmonizer, which adds two extra tones to the base tone (a tone seven semitones higher, and a tone one octave lower; note that these harmonies are adjusted in the last minute or so). The pitch (in cents) of the base tone is set by a random number generator. (note that this track is not fully based on chance, as I adjusted the range of the generator to include lower pitches as the improvisation continued). The delay speed of the feedback is adjusted with an expression pedal. The field recordings, like the other sounds in this track, are coated in reverb.

“5-18-2025” consists of an improvisation with guitar. The sound of beads scraping against muted guitar strings is amplified and ran through a rotating lineup of effects: reverb, feedback, and two different delay sounds (one producing feedback, and the other producing the glitchy sounds in the middle section, both through the manipulation of delay speed).

“5-19-2025” consists of an improvisation with a cassette tape, which is processed through multiple delays. The beginning of the track utilizes the sounds of switching the stereo system (which plays the tape)’s function switch, and skipping behind/ahead in the tape (this recording is then looped and modified to form the rest of the track). The tape in question contains various works by Strauss, performed by the New York Philharmonic and conducted by Leonard Bernstein. As the improvisation progresses, multiple other delays are added to the tape, and the sound of their speed variation & feedback (as usual) constitutes the rest of the track.

“5-20-2025” consists of an improvisation with an acoustic guitar and objects. The beginning of the track consists of a dissonant three-note phrase, repeated twelve times (eight performed regularly, the last four performed with harmonics). The rest of the track consists of an improvisation with chains, brushes, and a bow; which are dragged and whacked across the acoustic guitar’s strings and body. These produce varying types of sounds, ranging from scratchy hisses & crunches, to breathy static. The strings are (to varying success) muted by a wallet, placed on top of them. Unlike the tracks before it, the sounds are not processed through any effects, the only digital manipulation being equalization, light compression, and the splicing of takes.

“5-21-2025” consists of another improvisation with a stereo system. The sounds of flipping the function switch and changing radio channels are then processed through delay & reverb.

i make the music i want to make

not a label, i just use different aliases sometimes

born and based in manitoba