Automation Addiction is the stunning debut album from Los Angeles based painter and musician Max Neutra. Assembled over 10 years using a surreal array of musical toys and hacked electronics, and created in splendid isolation from the commercial pressures of radio playlists, record reviews and DJ chart returns, Automation Addiction is a deeply personal expression of one man’s escapist love of electronic sounds, creating something simultaneously bizzare and leftfield yet also endearing and engaging.
Prepare to enter a unique world where naive bleeps and perky melodies mingle with circuit broken chaos and sci-fi madness, telling a story of mankind’s relationship with technology, and his place in the cosmos; where computers can love, where humans send cosmic greetings into space, and where one day, the aliens may come to us, in search of our music.
Neutra, who is grandson of renowned modernist architect Richard Neutra, and key player in the LA Live Painting scene, has created an electronic playground purely for his own curiosity. Yet the record is the perfect late night come-down soundtrack after a night of partying. Put it on on headphones in the dark. Play it in the car as you travel back from the club. Enter the world of Automation Addiction…
MAX NEUTRA WRITES:
"The creation of this work spans 10 years, three cities, four computers, two closets, several addictions, and many plastic noise making devices. It was an obsessive journey of sonic experimentation that came in fits and starts, primarily driven by my loathing of being trapped by a job I hated in a town I wanted to leave, punctuated by moves and marriage, and nearly derailed all together by a sudden turn down the path of visual art.
When I started painting in 2005, I fretted that all this music would never see the light of day. In hindsight, it seems that there was no better time than now to share this music with the public. The songs I have spent spent so many years meticulously constructing finally have a visual language to complete their message. Loose and expressive imagery to balance the organized math of computer music.
Six years ago, I probably would have said that this album is a portrait of mankind and his dependency on technology, but time has given me better perspective. Now I see it for what it really is, which is not a portrait of mankind in general, but of one man and his process of escape through the science of electronic sound. A micro view of a macro addiction. Automation addiction."
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