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akai
chill
electronic
experimental
korg
live pa
moog
noise
roland
synth
tb-303
tb303
trance
yamaha
:: artist infos
cynkh
Impossible Toys
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Noise ... for art's sake. For the sake of exploring the possibilities of electronic freedom: the ability to sculpt the canvas, mold the brush, tone the color and ultimately apply the strokes in an abstract medium-- a medium where the character of the instruments can be as much a part of the structure as what's being done with them.
Impossible Toys seeks to caputre the evolutionary process of forms and modes of tones, coloration, rhythms, noises and ultimately cohesive collections of these elements which suffice to become tracks. It's less about the finished product than the path to it.
Impossible Toys seeks to caputre the evolutionary process of forms and modes of tones, coloration, rhythms, noises and ultimately cohesive collections of these elements which suffice to become tracks. It's less about the finished product than the path to it.
Why this name?
The nature of the "toys" is that when left to their own devices, they can do some really sinister things; defying convention and sometimes even the aesthetic. They can get away with some impossibilities.
Do you play live?
All of our songs are recorded live, whether in a basement during a jam session or in a living room of a party doing live-PA. That is the nature of Impossible Toys.
Would you sign a record contract with a major label?
If there were a major label willing to a) sign an experimental/noise act and b) provide the band with full creative control over all projects-- we would seriously consider it. This; however, is the stuff of fairy tales.
Band History:
Impossible Toys is comprised of two members: aDub (Scott) and whosmary (Ty). Basically, the band started as an outlet for us to express our electronic-music influences and took on a more "buck-the-system" approach.
We realized rather early on that the jam sessions and the whole sonic documentation process of starting with nothing-- no computer backing tracks, key signatures, chord progressions, rhythmic elements or any sort of cohesive form-- and ending up with a "finished product". More a way to record the brainstorming process through the filter of the electronic character of the medium we're working with-- sort of letting the instruments be players in the band, letting their creative and expressive voices be heard rather than just manipulated.
We realized rather early on that the jam sessions and the whole sonic documentation process of starting with nothing-- no computer backing tracks, key signatures, chord progressions, rhythmic elements or any sort of cohesive form-- and ending up with a "finished product". More a way to record the brainstorming process through the filter of the electronic character of the medium we're working with-- sort of letting the instruments be players in the band, letting their creative and expressive voices be heard rather than just manipulated.
Your influences?
Bands who have influenced our approach to music-making: Severed Heads, Skinny Puppy, Dead Voices on Air, Ministry, Frontline Assembly, Haujobb, Project Pitchfork
Equipment used:
Gear used: Roland TB-303, Alpha-Juno 1 and MKS-50 w/PG-300, JX-10 w/PG-800, Juno 6, W-30, JS-30, TR-606, SH-32, M-12E, Korg EA-1, ER-1, NS5R, EX-800, KMS-30, Moog Rogue, Yamaha CS1x, A3000, TG-33, TX-81z, Kurzweil K2000, Akai MPC1000, Behringer MX-1804x, Tascam CDRW-5000, Digitech DSP-128+, GSP-7, S100, Alesis MMT-8, MIDIVerb, MEQ230, Ensoniq Mirage DSM-8, JLCooper MIDI patchbay, generic 48-point balanced patchbay, a boatload of Hosa MIDI and patch cables and some Monster Studio 100 and 500 patch cables