Biography


Drosophelia /drəˈsoʊˈfiːliə/ is the solo project of Igor Zinken (1981, the Netherlands).

After having spent over two decades contributing to various musical groups, soundtracks and audio software, the desire arose to focus on a purely individual outlet.

This brought forth the purpose of sculpting a cohesive aesthetic with the aspiration to express a private voice; "these are my observations, for whoever listens".

Whether stated through a solely instrumental narrative or phrased in a song; Drosophelia became the identity providing this channel.


Process


Assembling the tools...

The ethos of Drosophelia is to make music by any means necessary, which implies that any sound source is considered an instrument.

While Drosophelia's music features both acoustic and electronic instruments, it also revolves around the use of handwritten audio processing software, often built for the occassion.

These sources form a palette from which a single "aural painting" can be created, unifying all the individual layers regardless of whether they are organic or synthetic in origin.

...and making the music

Apart from being neurotic about details such as the placement and tuning of individual percussive sounds, there is a continued study of unorthodox scales and time signatures, all in pursuit of gathering more functional tools.

Each release may feature specific types of equipment more than others, or is written having a specific palette in mind.

As such, these are often built around a specific sound; whether it is an instrument, newly created processor or a tonality, the sum of the parts combining to set the tone of the release.


Album themes


Exuvia

Exuvia's narrative concerns the observation of human behaviour: where the desire to belong drives the adoption of a prefab identity, in which individuals appropriate the same uniform characteristics making them indistinct from one another.

  • Auto-Iconoclasm proposes how presenting in conformity without deviation is actually a disguise; through denial of sculpting an image, any veneration is prevented.
  • Consonant describes how the dominant group asserts their pull on the individual by forcing adoption of their identity not to risk chastisement.
  • Adulterant concerns the reshaping of memory to reflect desire, rather than reality.
  • Conduit continues the topic of Consonant from the perspective of the individual.
  • Legion continues Consonant and Conduit from the perspective of the ruling group, requiring new recruits to remain thriving.
  • Contaminant is about unequal investment and breaking the bond with the individual that only exploits the time and resources of the other.

Track by track deconstruction


Moult

  • 6581 features algorithmic generation using the Moorish Phrygian scale, where the patterns are performed by an Elektron SID Station for the chip sounds.
  • Objector provides an alternate take on a traditional dub by using 7/8 time and the Hungarian Minor scale, giving the FogPad reverb plugin the lead in providing a suitably diffused reverb ambiance.
  • Detractor features the custom-built Transformant plugin, processing both modular synth (Mutable Instruments Plaits sequenced by Rebel Technologies' Stoicheia) and the Leploop Arpopone arpeggiator.

Imago

Imago is the first release to feature custom plugins, in this case the Regrader delay which is audible throughout the album.

  • Equinox uses the Promotheus Napolitan scale and is in 7/4 time.
  • Echelon (like its predecessor Numen) is a vertical composition in which the same motif is present throughout where layers are added and removed to build intensity. The song starts with Arabic Qanun (played on MIDI guitar), proceeds to feature Mayan flutes and finally moves to a reggae rhythm implied by off-beat synthesizer stabs.
  • Vexed features algorithmic generation using the diminished scale in 5/8 time, with the synthesis from a Ploytec PL-2 providing a suitably distorted sound for added menace.
  • Bok Globule features multiple time signature shifts where the choruses alternate between 5/4 and waltz time while the verses use odd bars of 7/4 to constantly push and pull the rhythm.
  • Botfly uses the augmented scale as it lacks a sense of resolution and thus ends the album open-ended.