This project was born from a chance encounter with the PULSAR-23 during a live performance by electronic music artist MATTHS, opening for Alessandro Cortini in Brighton. The performance was an audio-visual experience, driven by modular synthesizers and based around a steady pulse. Driving the low- end was the PULSAR-23, providing a dense, all-encompassing four-to-the- floor kick drum that shook the venue. This experience inspired an obsession with the PULSAR-23, and later, the LYRA-8, inspiring me to explore their capabilities further in my practice.
The PULSAR-23 and LYRA-8 stand apart from traditional electronic instruments due to their innovative design and the tactile, hands-on approach they foster. Unlike conventional DAWs and synthesizers, these instruments encourage a form of musical expression that is exploratory, improvisational and deeply connected to the physical act of music-making. The PULSAR-23’s semi-modular structure, with its 23 distinct modules, and the LYRA-8’s unique non-linear voice generators, offer a rich terrain for sonic experimentation that breaks away from the limitations of more traditional architectures.
A significant breakthrough in my compositional process emerged through my interaction with the PULSAR-23, which operates on principles that align with Deleuze and Guattari’s Rhizome Theory (1987). This theory, which emphasizes non-hierarchical and interconnected structures, resonated with the semi-modular and organic nature of the PULSAR-23. The instrument’s ability to produce ever-evolving sounds and its tendency to generate unexpected outcomes through live circuit bending and body conductivity transformed my approach to music composition. This shift away from rigid structures and into a space of controlled chaos allowed for a more organic and fluid creative process, where the instrument itself became a co-creator.
Engagement with the community surrounding SOMA Labs informed my journey in ways that were not always immediately apparent. Initially, I was an observer, learning from the wealth of user-created content available on YouTube, Instagram, Elektronauts forum and the official SOMA Discord channel. However, as I began to interact more actively, sharing my own insights and compositions, this community of practice significantly enhanced my understanding and use of these instruments. The collaborative and supportive environment provided a space for continuous learning and innovation, which was instrumental in refining my techniques and expanding my creative options.
The principles of defamiliarization and improvisation are central to this study. Drawing on Viktor Shklovsky’s theory of defamiliarization, which posits that art’s purpose is to “impart the sensation of things as they are perceived and not as they are known” (Shklovsky, 1917, P. 2), I sought to challenge my own compositional norms and recontextualize familiar elements in novel ways. This methodological approach not only rejuvenated my creative practices but also offered new perspectives on electronic music composition. By stepping away from conventional frameworks and embracing a more exploratory and improvisational mode of creation, I was able to achieve musical outcomes that are both innovative and reflective of a deeper engagement with the instruments.
This research aims to clarify the transformative impact of the PULSAR-23 and LYRA-8 on my compositional process, highlighting how these instruments facilitated a departure from traditional methods and fostered a more dynamic and improvisational approach to music-making. Through a combination of theoretical analysis and practical application, this study explores the interplay between human creativity, technological innovation and community interaction. The findings emphasize the potential for unconventional instruments to act as catalysts for creative breakthroughs, expand the boundaries of electronic music, and provide new methods of artistic expression.
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