Nine Types of Ambiguity contained tracks that I produced in the the 2 1/2 years before I came up with The Köln Konzert. I originally wanted to release this simultaneously with TKK, but Frank Dommert at Sonig told me that was a bad idea. He was probably right.
I recorded the music that ended up on 9 Types in a variety of houses around Brixton / Kennington / Oval, where I lived with a group of artists, hackers and physicists. One of the houses was a converted kindergarten; the garden still had a climbing frame and was covered in squidgy pseudo asphalt. Whenever we had parties there we had to take turns on the door politely informing local crack dealers that it just wasn't that kind of crowd.
I was pulling together influences from the local improv scene, drum and bass, everything that was coming out of Chicago at the time, the first inklings of glitch coming out of Germany (although pretty much all this music was made before I ever hooked up with Mouse on Mars and Sonig).
Listening back now, I wish I had had the production skills to make the best of the ideas I was having. I was trying to blend together so many disparate elements, and I was obsessed with trying to create an organic mesh of these elements, so that none of them stood out too far above any other, pushing the borders of end of millennium sequencing software capabilities, at least in terms of track counts.
I remember coming across obscure software - a command line vocoder; a primitive modular modelling synth with an out of control randomise function; weird sample formats that lasted about 4 weeks. I remember realising for the first time that I could actually use the out of tune piano that was sitting around downstairs. I remember spending days cutting up 80s hip-hop beats beyond recognition. I remember getting some old voice synthesis program to say "Doo doo doo" and then pitch shifting it around until it sang. I remember blowing up my only mixer by feeding its outputs back into its input and modulating the squeals for hours on end...
"a new aesthetic of sound" Süddeutsche Zeitung
"the perfect combination of wide-eyed innocence and rigorous sound analysis" Pitchfork
released April 9, 2001
All music by Adam Butler, recorded 1998-2000 in Sth London
Mastered by Christian Zimmerli at Sounds Good, Düsseldorf
all rights reserved