1997-Present

“This willingness to reject conventional ideas about electronics, music, and electronic music defines Octant’s unpretentious yet inventive stance.”

– Heather Phares (AllMusic)

“…a stunning burst of new wave pop hooks and primitive electronica that actually works against all odds.”

Alternative Press (12/99)

Octant Background Notes

Octant is a musical ensemble I created, where I designed and orchestrated robotic and experimental musical instruments to perform song-based compositions. The project began around 1996 -1997 as a response to the dominant computer music culture in the U.S. Northwest, where I lived from 1992 to 2000. At the time, I found it unengaging to watch electronic musicians fixate on laptops during performances, as few artists were experimenting with new instrumentation in live settings or recordings. Inspired by artists like Einstürzende Neubauten and the Italian Futurists, I aimed to make kinetic percussion machines the focal point of my compositions and performances. I sought to challenge traditional song composition and performance by merging psychedelia, electronica, krautrock, new wave, lo-fi, and post-punk elements. I integrated avant-garde techniques—drones, noise, dissonance, lo-fi, and atonality—to enhance or counteract the emotional depth of the melodies and lyrics.

Octant became a multimedia experience where machine-human interactions, kinetic art, lighting, and music converged in everyday bars and all-ages venues. While the use of robotic percussion could have appeared as a mere gimmick, my primary focus was on creating compelling sounds and visually engaging instruments. Looking back, Octant was ahead of its time, foreshadowing the rise of homemade instruments in electronic music and the Maker movement that gained traction a decade later. Octant was also embedded within the DIY post-punk scene of the 1990s Northwest, joining the creative ranks of bands on labels like K, Kill Rockstars, and Up Records, as well as other DIY projects like Miranda July’s Joanie 4 Jackie (formerly Big Miss Moviola).

Using a robotic percussionist began as a challenge from a bandmate in another project, as drummers were hard to find and often over-committed. Developing an acoustic drum machine addressed this technical problem while offering an intriguing aesthetic experiment. I aimed to create a touring and recording project that operated like a conventional band while learning to program music, design circuits, and craft new musical objects along the way. This process sparked a deep and ongoing exploration into robotics and experimental instruments within art.

I owe special thanks to Chris Takino (RIP) at Up Records for releasing Octant’s first two albums, and to Doug Martsch, who took a chance on Octant by inviting us to open for Built To Spill only weeks after our inception. It was a bold choice, and I am grateful that the project found an audience among his fans.

1999 Album, “Shock-No-Par”

The Octant album Shock-No-Par, released in 1999, is an early and significant example of an album that prominently incorporates robotic musical instruments. The project combined traditional and unconventional instruments with robotic mechanisms to create a distinct sound. Shock-No-Par is noted for its inventive and creative integration of robotic instruments within a contemporary music album, merging indie rock with experimental textures. This release played a role in generating broader interest and recognition of robotics in music production, showcasing the potential for robotics to expand musical expression and redefine the sonic landscape of contemporary music.

More reviews are below.

Shock-No-Par
Wikipedia
CMJ

A documentary that was shot in 1999 in conjunction with the release of the first record, Shock-No-Par.

Machine Project, LA 2011