BYZUS/CA/QC
BYZ’s productions are stunningly cohesive—evoking footwork’s frantic percussive patterns, haunted Sega Saturn discs, the elastic, freeform BPM oscillation of glitch, and drone music’s stuttering surrealism. Equally suited for experimental settings as club spaces, BYZ’s music manufactures spectacle with blistering, well-earned bravado, evoking carnival roller coasters, Second Life chat rooms, and euphoric, scrambled virtual spaces with unending psychedelic possibilities.
Cowley comes to Montréal from Kentucky, where he’s completing a history degree at McGill University. Citing artists such as Amon Tobin and Tim Hecker as fundamental to his sound development, Cowley’s work also nods to the melting pot landscape of contemporary glitch music, where the blistering barrage of online information and content serves as a wellspring of unlimited musical possibility. A sense of anarchic glee is evident on his debut Feel Good Now!, which skitters across the experimental-hardcore spectrum, diving into exploratory wormholes of synthetic sonic chaos. Rhythms emerge from the fog, lurch like an upset stomach, scramble, re-assemble, and self-destruct, often within the span of the same track— speeding through neo-orchestral arrangements, and blissfully weird hip hop productions.
For his MUTEK debut Cowley plans to execute his unique vision of hyperreality under wide open summer skies, with a set full of new material inspired by hip-hop, footwork, and experiments in vocal synthesis.
BYZ’s productions are stunningly cohesive—evoking footwork’s frantic percussive patterns, haunted Sega Saturn discs, the elastic, freeform BPM oscillation of glitch, and drone music’s stuttering surrealism. Equally suited for experimental settings as club spaces, BYZ’s music manufactures spectacle with blistering, well-earned bravado, evoking carnival roller coasters, Second Life chat rooms, and euphoric, scrambled virtual spaces with unending psychedelic possibilities.
