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Compilation Artist

Digital composer and creative practitioner Addison Course creates lush textured soundscapes that are mixed against sparse drum patterns. These highly manicured arrangements take influence from a variety of cultural and musical genres.


How did you get into electronic music? Where did it all begin?

Let's start with a youth spent playing video games and watching sci fi and fantasy like: Alien, Aliens, Doctor Who, THX 01, Mad Max, Star Wars, Star Trek, Buck Rodgers and Blake Seven. All these programmes, movies and video games were packed with cool sound effects. My interest in these sound effects was most defiantly the first spark in the journey of music making.

Is there one piece of gear that was a real turning point for you?

Two major players here. Firstly, my introduction to the Macintosh computer was the biggest and most significant turning point, as digital sound editing was what I had been wanting to do. However, getting the Yamaha SU700 definitely changed the way I was creating music. Gaining the ability to manipulate sounds and sequence on the fly allowed me to create the jam-able, slowly evolving loops I was interested in making.

Is there a particular instrument or sound source you find yourself drawn to?

There is a fairly constant use of voice in my music. Sampled from records, radio, recordings, tv and movies; I use voice in my music to create obscure points of reference. Much of these are unrecognisable once I have processed them, and probably at times only has meaning to myself as the artist; but I like how the analog warmth contrasts with the digitally generated sounds.

What does your creative process look like? Are there particular techniques that help your process?

Have you ever visited some guy who has five old cars in garage that they are simultaneously working on? Maybe you have just driven past a property in complete disbelief at how many cars one can collect. Well, welcome to my creative process. In my case I have multiple album/release ideas kicking around with some practically ready for release, just waiting for those final magic touches.

Where do you usually start when creating a new piece?

Things usually start as an idea that gets sketched or recorded on whatever I have on hand. From there I begin mapping out my idea/s into Ableton Live, selecting or generating the sounds and letting the idea evolve, mutate or degenerate into a track.

Do you find that other creative pursuits influence your music?

Yes, most definitely. There are consistent themes and approaches throughout my creative practice that I explore across a number of different mediums. I'm pretty sure that I am constantly approaching the same ideas, through different mediums, each time like they are brand new.

Do you perform live? How do you translate your music into a live performance?

I do occasionally perform live; sometimes with great success and satisfaction and sometimes not. I enjoy experimenting with gear configurations and am happy for some configurations to not work as well. My live setup usually resembles a mixture of live sequencing and playback of pre-sequenced tracks alongside mixing and playing around with effects. The last time I performed live was a few summers ago at AUM festival.

What is the source of inspiration for your latest work?

In all honesty, my main source of inspiration is the world of visual art and art theory. I am often trying to add elements such as environmentalism, political commentary, cultural references, and pagan ritual into the equation.

Do you think the town you live in has an influence on your sound or process?

If it did, then right now there would be a cicada and cricket algorithm synthesis mixed against an urban soundscape with the occasional rolling thunder of a west coast set. I am a wanderer and have lived in many different places over the years. My tracks are often set in locations of the memory, within my imaginary landscape.

What is the strangest or most surprising instrument you have used?

That award would have to go to the Prophet 5. Never before have I come across a synthesizer that can sound so beautiful, then at the twist of a dial, sound like someone is murdering a cat inside of a metal rubbish bin. To me, it seemed like the creators had designed it with the unadvertised feature of allowing the user to tweak it beyond the point of desirable sound. Anyone who has ever had a proper play on one of these amazing synthesizers will read this and quietly laugh to themself.

Who do you see as your biggest influence?

I subscribe to the idea of constantly being influenced by all forms of media. The ongoing cycle of culture that is characterised by change, outrage, understanding and acceptance. New forms of art always seem wild until they are digested and eventually accepted by greater society. It is always interesting what triggers an idea for a track or series of tracks. Simple things, like hearing a bogan drive by several blocks away, with their car system distorting throughout the air; playing around with rocks on the beach or walking through a city park can provide me inspiration. Everything I experience gets loaded in, and much of it reappears in my sound work.

What records caught your attention early on and influenced your direction?

In terms of direct influence on my music making we need to look back at the evolving lock grooves of the nineties, albums like: DJ Krush ‎– Strictly Turntablized, Scorn ‎– Logghi Barogghi, Autechre ‎– Amber & Tri Repetae, Boards Of Canada - Music Has The Right To Children, Nightmares On Wax - Smokers Delight, DJ Shadow - Endtroducing... , Max Rebo Band - Ghost In The Shell, We - As is.

Recommend one artist for people to check out (other than yourself of course)

I have been really enjoying the Melbourne based act No Mono and recommend checking out their 2019 album Islands.