The Crypts of Curelom (Edit)
The Crypts of Curelom (Edit) is a slice of the fear-mongering, guilt, despair, wonder and head-scratching events many outsiders my age felt as a kid in 1980s Utah, USA (and other small places with small minds, of course). So many things (I loved) were deemed Satanic, morally erroneous, or just weird. Weird.
The disparate samples in this work play out as the angel and devil on my young shoulders, a slide show continually looping in my mind like suggestive advertisements. I wanted the comfort and security that religion and community offered, but the excitement of mod haircuts and men wearing makeup displayed in UK record catalogs swayed me to deem the former as pedestrian pastel. There was something out there beyond the country limits, but I had to fight to find it – acceptance is still a struggle.
Though not atypical of my current work, this tape-spliced collage (and the series to come) is therapeutic.
Dave Madden’s (aka Tulpamancers, nonnon, dj_webern) earliest memories are Magical Mystery Tour, “Paint it Black” and the guy who claimed to be the Lizard King. After emerging from small town 1980s aesthetics, he discovered all the music that makes Humanities 101 students switch majors. Three works currently guide his musical output: Stockhausen’s Mikrophonie, Louis and Bebe Barron’s Forbidden Planet, Tudor’s Rain Forest (all iterations).
Dave uses percussion, found objects, laptop, turntables and an obsessive bending of synthesizers into the way they are not supposed to react to perform and / or DJ all over the world, from Montreal to California to Scotland, in universities, museums and coffee shops, preferring the types of crowds who enjoy John Cage back to back with Anti-Pop Consortium. Dave is currently focused on Nowhere Mountain, a project with photographer Mark Regester. He is also a journalist currently reviewing music for Squid’s Ear.