EP64, working as a trio, explore the interchange of feedback loop between human and machine.
The group start with raw improvisation, voice, percussion and, feeding off each other, offer this for processing/mutilation through the use of computer de/coding. The data is then fired back out into the ‘real’ space were the group intercept it and freely incorporate this into the performance. It (the performance) can then, once again be offered for processing by machine. Dali de Saint Paul reacts to the re-emergence of her voice, once ephemeral, now able to be rewritten and performed by machine and responded to by body. Nick Janaway reconfigures the space/time that the group inhabit by coercing the computer that allow him to do just that. Dan Johnson becomes the human midi clock that keeps the group/machine locked into an abstracted notion of control, by which this means that most of the performances end in a sate of hysteria; as human seeks to overcome machine that seeks to overcome human until control itself breaks down.
For their first release on Pale Master, the trio recorded a live performance in Liverpool and this is offered up now as a c40 cassette. Time replays once again, and like all cassettes can be, reproduced, erased and reconfigured.