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punctï ("pronounced punk-tie") is a monthly collaborative experimental project where I invite artists to produce an album with me. I consider each album an etude into sound manipulation, as well as into interpersonal and intimate interaction. Composition, recording, and overdubbing are done in a single session. Post-production is done in another session, roughly the same length of time as the first. The album covers feature childhood photos of the collaborating artists; this project is all about reclaiming that childhood joy and wonder, without all the learned insecurity. When performing punctï, I channel a disenchanted office worker in an absurdist satire whose movements trigger (and are choreographed to) samples, stems, and full tracks from her discography. For booking and other inquiries: punctimusic at gmail.com

I've been so busy this month that this session came between the hours of 2 and 6 AM. Enjoy these two tracks, dear listener, and stop working for people other than yourself!!! ok love you! til next month ;) released August 28, 2019 3-0, in my favour ;)

Felicia Lush, AKA Alicia Hush and half of the vibrant force that is HushLamb, is an incredible producer, performer, and human. She shines so bright, it almost blinds me, but instead I got to bask in her presence and creativity for a whole afternoon! Together, and without syncing, we both jammed out hard on the PO-33 and PO-12, using the effects built in because they're actually really good! I then got her to rip a bunch of her own sample work on top, which really makes for a perfect atmosphere. Get lost with us in Bob Ross' landscapes, dear listener, with Let Zygons Be Zygons. Featuring the creative mastermindery and hilarity of Felicia Lush Released July 29 2019 Let Zygons Be Zygons ft. Felicia Lush

Greg Debicki, AKA Woulg, is an unbelievably talented individual who has gained more knowledge in 31 years than I thought was humanly capable, and yet he's also still hilarious and truly genuine human who opens his heart and soul to others. Whether through teaching Ableton Live, FL Studios, Max MSP to others, designing lights, devices and complex visuals, programming shit I barely understand but am completely in awe of, and then on top of that learning a bunch of new fun stuff all the time, he somehow still finds time to perform all over the world. His music is mostly Glitch, although he never pigeon holes his talents into just one genre, and for us to do this pretty acoustic album together was extremely satisfying. Our journey is lead by an at times erratic percussive guide, who nods in recognition to the keyboard, midi harmonies, and bass tones. Narrated by two unreliable tourists, we take a trip down many brick lanes, some covered with nostaligic bubble gum and puca shells. Recorded on June 26, 2019, Greg's 31st birthday, at Studio Banane Geante, I give to you, dear listeners, Oh To Be 28. released June 29, 2019 With the perfect god, Greg Debicki June 2019 Oh, To Be 28

It sounds corny, but the most important part of doing making these albums is having ridiculous silly fun with people and getting to record it and share it with you, dear listener! Laura Donohue is a polymath, even though she sometimes denies her talents. She is a precise, yet flexible artist, and is always down to explore new techniques of performance, playing, and composition. Also, she's a phenomenal photographer, and has a BSc. AND THE MOST IMPORTANT PART IS THAT SHE IS THE ONLY GUITARIST EVER WHO DOESN'T PLAY TOO LOUD. Plus she's hilarious and has sick style. Truly, truly, an extraordinary and precious person. For May The Truck Be With You, Laura and I started off with a Casio PT-50 and Korg Monotribe; to introduce the album, we wanted to start off on a light hearted note musically as well as lyrically. Halfway through we hopped on Pocket Operators, and without syncing, we were N'sync. After our initial takes, we overdubbed vocals to create an undeniably catchy and fun 15 tracks. Take a break, smell some flowers, and join us at the Monster Truck Rally that is May The Truck Be With You. Featuring the polymath prowess of Laura Donohue May 2019 May The Truck Be With You

Seeing Mark play guitar is a form of entertainment within itself. Then, after you're already hooked in to whatever sonic carousel of broken mirrors he's playing, he starts singing, and a new portal of semiotic distortion opens up in your frontal lobe. It's hard to explain, as the best experiences in life are. On Overoccupied Apoidea, Mark and I explored an old autotune pedal and whammy pedal. For a moment, I almost understood why Bon Iver's EP was so popular. I broke out my lap steel guitar for this session; it and the cello made fast friends with the korg monotribe we used for percussion. Meanwhile, Mark continuously ripped on the cello through the whammy like it was an extension of himself. My Dad always said that the magic of music isn't in the instruments we're using -- they're just assembled parts that can be changed out. True artists are not limited by their tools. Whether you're waiting for the rice, jet lagged, or just plain living, Overoccupied Apoidea is right there with you. No matter how busy we bees get, I'm always down to hold hands. featuring the compositional poetics of Mark Grundy Thanks to Eliza Niemi for her cello April 2019 Overoccupied Apoidea

Sometimes things don't work out as planned, and to be honest, I always appreciate these times - it's like the universe decided to gift us a new opening, at times even a portal, into the coveted plane of free time and impulses. 25 And Still Alive is a much anticipated dive into my pocket operators, PO-12 and PO-33. Respectively a drum machine and a sampler, these tiny little buggers pack ridiculously large power. I synced the two together, which embarrassingly for puncti is still a new endeavour. The built in FX are sick, and using them simultaneously lead me down paths whose existence was previously clouded by my own narrow mindedness. Like dimensions, all of these paths simultaneously exist; puncti is a continous attempt to reveal these interlaced realities, and coerce the clouds away. The samples are free, lifted from the internet like all of our best jokes. I triggered them using my homemade midi controller, whose code is here Enjoy, dear listener! As always, love puncti pocket operator info March 2019 25 And Still Alive

At first, I was in awe of Kelsie Hjorleifson--she had barely started drumming and already had metronome precision, along with a budding art practice which produces very friendly and engaging pieces (I like her leather painting and use of astroturf the best). She joined forces with dearest Nyssa Brown, a previous puncti collaborator, and two other fiery ladies to produce Hag Face, a wonderfully grating beyond punk outfit (and one of my FAVOURITE bands). After their disbanding, Kelsie moved to Montreal, played in a lot of amazing bands, and just as she is moving away, I caught her for a session! We bring you, dear listener, "The World Of The Day Is Petrichor", a collection of syncopated moments between Kelsie and I, involving a beautiful Yamaha synth, my trusty Pocket Operators, and a delicious Volca Beats. Put this on, make a hot beverage and relax however you like as the petrichor of pre-spring-spring washes over you from the snow removal trucks. released February 28, 2019 featuring the intuitive and giggling Kelsie Hjorleifson February 2019 The Word Of The Day Is Petrichor

The Super Blood Wolf Moon was in Leo, (and since I only pay attention to astrology when it has to do with Leos, cause y'know, Leos rite?) it seemed to hit me even harder. Using constraints is what this project is all about, yet this time I found it extra frustrating to devote the usual 8-10 hours to this etude. However, I got into it, and I really started to appreciate Figure, and all of the music production application that are FREE and out there! At this point 2.5 BILLION people (~36% of the world's population) use smartphones. Not to mention the tablets, laptops, and other crazy shit out there. I bought an NFC chip ring for $2! I digress slightly, but my point is that accessibility to creative production methods is only increasing, and it's just so fucking amazing! I fucking love art, and I fucking love free ways to make it! All instruments excluding voice made with Figure Application cover image shot by Aja Jane January 2019 Facsimile Simulation

Chris Hauer, aka Margret, is a super talented musician, mechanical engineer, and mathematics tutor. He has played in multiple bands in both Calgary, AB and Montreal, QC, and is always down to explore; whether that be genre, instrument, or new place on tour. Doing this etude with him was extremely fun, and (maybe embarassingly) the first time playing with synced synths! Using the KO-33 Pocket Operator, PO-12 Pocket Operator, and a Korg Monotribe, Chris and I explored the depths of 3 hours. We overdubbed vocals over the entire recording, making jokes and uncovering that Chris' hero is for some reason Martin Freeman. Mine might be Enceladus, which is one of the most reflective bodies in the solar system.'" In post, I cut up vocal tracks and played with a lot of shifting time signatures by layering a slightly shorter drum loop over another one. This is especially prevalent in "Variations On The Same". Enjoy dear listener! Featuring the technical and entertaining Chris Hauer. December 2018 Chrismas

At first, josh and I set up 'bi-neural' microphones (we didn't measure, imagine a 3x larger Hey Arnold head) and held notes for as long as we could. With the introduction of two metal mixing bowls, we swung them around our heads and slid between the microphones. We then took two piano takes separately, and put them together on top of our now -30% variation speed metal-bowl-chanting. Using a volca beats, we then added a last bit of suspense with the bass drum. Thus, Double was born. For Triple, we took all of the percussive instruments we could find from the Egg-Paper basement, and laid them all out in accessible locations within the confines of josh's tiny and cozy studio. Deciding on a beat, we then proceeded to tag-team playing baa-ba-ba with all the instruments, which lead to our surprise that we could have used double the amount of percussive instruments. Set to an inkling kick, it moves faster and faster, creating chaos within its polys: -rhythms and -phonics. Featuring the ever-exciting experimental prowess of Josh Boguski. Novemeber 2018 Double