I make experimental electronic albums and play them live on an acoustic guitar.
Why? Because experimental music sounds great on a record and acoustic music sounds great live. When it comes down to it all the ideas for the live performances are contained within the experimental pieces. There are rarely any vocals on the albums but acoustic live versions have lyrical themes and melodies directly derived from the recorded music. This is possible because the meanings don't change from the experimental to the live versions. The live versions feel the same as the album versions even with their radically different deliveries.
This is all down to the human factor in music: meaning. Music is all about meaning. In the studio my tools are the computer, the studio and the process of meaning making. Live my tools are guitar, voice and that same process of meaning making. I can play an acoustic version of an experimental piece of music because I'm molding the same meaning with different tools.

Stephen.

Alethia is journal of results documenting three years of experimentation in the distillation of the human essence into electro-sonic form. Born from collaborative roots on tour with the ever visceral "Deviant Junkyard Orchestra" across greater Scandinavia and the Romanian hinterlands, Alethia redresses the need for greater humanity within electronic and computer music. Borrowing heavily from the even heavier works of noted pioneers in corporeal alchemy like Varela, Johnson and Lakoff it roots the mythical and abstract in the plasmic and organic.
With Alethia Line-In grounds the Cagean transcendental in the Cavean elemental. Narratives of swelling and drowning meanings pillage Eno and Aerosmith with equally wistful glee, pulverizing the space between intellect and artifact banishing and bastardizing the Cartesian music under the banner off Leonard Meyer.
The purpose of the collection is to cut a middle path between the dual extremes of primarily intellectual and primarily emotional music. In acknowledging the role of the emotional in the musical concept and of the conceptual in the musical emotion the potential to approach music as an embodied emotio-intelectual experience. By locating the musical mind within the musical human body and musical human body within the musical mind certain fraudulent musical attitudes are dissolved allowing us to reposition the notion of "expression" at the intersection between intellect and individual.