Artists working on the fringes of ambient, noise and experimental music can often be confined to reductive descriptors by journalists, labels and events, grouping artists together in a manner that is neither beneficial to those individuals or the listener. It’s the sort of mindset that puts Alessandro Cortini on the same plane as Psychic TV because of some vague industrial connection, or, more recently, Elysia Crampton in the same conversation as Croatian Amor because of some algorithmic shortcomings. Philadelphia’s David Sutton, previously known as Current Amnesia and now going under the LXV pseudonym, has largely been able to avoid that contextual pitfall, releasing a series of albums, cassettes and mixes through labels like Umor Rex, Sacred Phrases and Anòmia that fit into a deep tradition of consciousness exploring electronic music that matches sonorous elements and abrasion with a deft, assured touch.
Having come to “young adulthood in the height of the american noise scene,” Sutton has also worked with the groups Ladderwoe and Car Commercials making “demented, improvised freakdom and occasional glimpses of fake rock,” but it’s his recent work as LXV that has piqued our interest and made him something of a cult favorite. Many will have been introduced to Sutton through Sirens, a collaborative album with Montreal’s Kara-lis Coverdale, and will have continued on to a mix for Creamcake and a series of one-off, almost hymnal tracks, leading up to 2016’s Clear, his most recent full-length project. Speaking to us over email, Sutton says that he’s been reading a number of philosophical texts, as well as some contemporary fiction, poetry, sci-fi and “too much news,” and it’s clear that Sutton has a flair for marrying classical and post-modern elements, a union personified in the text he writes and “reads” through a computer generated voice program in his mix work.
In our email exchange with David, we delved further into that marriage, inquiring about his use of acoustic and electronic sounds in quick succession, as well as how he’s managed to mine creativity amid the current political climate and how consciousness is realized in a physical studio studio setting. Sutton also mentioned that a follow-up to 2015’s Sirens is on the way and why he enjoys the process of making mixes so much. His Astral Plane mix begins with a digitized voice intoning stream-of-consciousness statements about American wildlife, sovereignty and displacement and more before leaping into a series of compositions by everyone from Mark Fell and Rene Hell to Vangelis and Alvin Lucier. It’s a deeply unsettling collection, reverberating with a nervous energy that is briefly placated by Groove Armada’s “At The River”, a track that arrives halfway through the mix and takes on a carnivalesque air in the midst of the clicks, drones and disorienting vocals that make up the rest of the selection. The mix is titled “Loss Function”, a fittingly analytic title to a composition that intentional skirt’s any sort of traditional groove or progression. Hit the jump for the full interview and a track list and download the “Loss Function” here.
Hi David, how are you? Where are you answering these questions from?
Hello, I am doing well. answering from my bedroom in Philadelphia.
For new listeners, can you outline the progression of your various projects? You’ve worked under your own name, as well as Current Amnesia, LXV, Ladderwoe and Car Commercials.
I came to young adulthood in the height of the american noise scene, got to see a ton of amazing, weirdo sets in decrepit basements. Current Amnesia was my solo output for a while. Ladderwoe and Car Commercials were some duos working in demented, improvised freakdom and occasional glimpses of fake rock.