The Phylum Chordata is comprised of the introverted, history loving, biology enthusiast, computer-nerd, and techno-instrumentalist, David.
On December 20th, 1991, at approximately 5:00pm, while sitting alone in a dimly lit family room, staring at the lights of his family’s Christmas tree, David
decided to create “The Phylum Chordata.”
Motivated by his desire to experiment, craft, and bring into being unique musical timbres and tonal qualities, and placing them within melodious,
harmonious, and symphonic compositions, the decision was rather liberating. David realized that he could create his own sound.
A sound, which has diffused the concept of arrangement as Glenn Miller’s 1940’s “big band” era recordings demonstrated. A sound, which has diffused the
soulful song structure of Sam Phillips’ Elvis and Johnny Cash recordings of the 1950’s. A sound, which has diffused the Beatles and Phil Spector “three-
dimensional” quality of the 1960’s. A sound, which has diffused the energetic power and creativity of 4/4 kick drums and programmed arpeggiator bass
lines of the 1970’s disco era, as was produced by Giorgio Moroder. A sound, which has diffused the timbre creation capabilities of the 1980’s, as made
evident by various Devo, Depeche Mode, and Oingo Boingo recordings. A sound, which has been brought to life by the technology of our times!
From December of 1991 through 1992 the theory of “The Phylum Chordata” took form. In between working, going to college, and meeting a significant love
of his life, the theory became sequentially realized. For a year David synthesized. For a year David composed melodies. For a year David designed
arrangements of various musical and tonal timbre. For a year David composed lyrics. Eventually, 20 songs were completed; however, due to, how shall we
say, “limited” financial resources, due to David wishing to finish college and earning his bachelors degree in history, only 4 of the 20 songs were formally
recorded, mastered, and manufactured onto a CD and released during early 1993.
The Phylum Chordata’s first release, Solution 10, had a great run on numerous college radio stations, DJ pools, and at various clubs. From Hawaii to New
England, from Seattle to Miami, and on the international scene from Canada to Australia (see enclosed propaganda for proof, if indeed you seek to
validate my humble claims!) The Phylum Chordata’s sound caught the attention of many.
That was a fun year; however, David wanted to be able to eat so he went back to college, earned his teaching credential, and became a teacher. For
several years David worked hard at becoming a good teacher. This limited David’s time to compose music; however, David would look over at his
synthesizers and from time to time think of new ideas.
However, finances were limited due to bills that needed to be paid. After many years, David became a tenured teacher and now wanted to further explore
the art and science of “teaching.” So, he went back to college and earned a master’s degree in educational technology.
Again, this limited David’s time to compose music; however, David would look over at his synthesizers and still think of new musical ideas. It’s just that time
and money were limited!
Well, in 2002 David decided that he had paid off his bills, realized that he would not seek any other advanced degree, and had reached a place within his
mind that he had “arrived” as a professional educator, coach, and part-time college professor. David now realized that he could slowly immerse himself
back into the musical aspects of his being!
Although the musical landscape had changed during the last 10 years, David’s understanding of musical composition, synthesis, and computer
applications would allow for him to resurrect “The Phylum Chordata.”
During the winter of 2002, David evolved his synthesis capabilities by upgrading his main synth engine. David composed several songs. The songs were
simply musical compositions with no lyrics. The songs were simply titled “Song 1” or “Song 2.” What David found to be a problem was that the new
technologies, which allowed for “loops” and pulse code modulated timbre, placed a semblance of cognitive dissonance within David’s mind. The problem
was that the new technologies made everyone sound the same!
As David composed, he thought of how he would wish to evolve the “sound” of The Phylum Chordata. David decided that there were two main issues that
needed to be addressed before he continued composing songs. First, he decided that he needed to study the new synthesizer technologies in-depth and
be able to adapt, in an evolutionary sense, the “new ways” of sound design. This would allow for The Phylum Chordata’s sound to stand out as a unique
listening experience. So, for several months David studied and experimented to originate his bank of “audio events” for his compositions. These audio
events, or musical instruments as David still wishes to call them, are exciting in that they are original is a binary sense; however, they still allow for David’s
“sound” to be realized. Next, David decided at that time that he wished to have a female be the voice of the next yet to be named CD. David placed an ad
in a local music magazine. Several prospective singers called; however, no “connections” were made until April. During April a female singer name “Lilac”
called David. David and Lilac met. David liked Lilac’s voice and Lilac liked various aspects of David’s sound. David and Lilac decided to work together.
Although Lilac like various aspects of David’s sound, she did not like all of David’s sound. David did not wish to compromise the sound of The Phylum
Chordata. So, David and Lilac decided that this would be a wholly separate project, and not a Phylum Chordata project. David rationalized that the “Lilac”
project could allow for David to explore in a real-time fashion the intricacies of the new music landscape with a talented singer.
David had written a composition which was titled “Song 3.” Lilac liked it so David gave it to her. Lilac decided to call this song “Leave it All Behind.” David
was pleased with how Lilac added to his music and wrote Lilac another song. This song was “Song 14.” Lilac decided to call this song “Till you are Mine.”
While composing these songs for Lilac during 2003, David found himself being able to converge his updated synthesis skills, song writing ability, and a
new found passion which led to the songs for The Phylum Chordata’s second release, A Sequential Proportion of Line and Mass Intended Mostly for My
Muse… CD.
During 2003 and 2004 David composed over 50 songs. 14 songs were chosen for the “ASPoLaMIMfMM…” CD. David composed the music and wrote
the lyrics, and also programmed the various synthesizers and sequencers.
During the winter, spring and summer of 2005, David recorded and had recorded, using 2 other engineers (Nir Averbach and Dominic Sanzone) several
of the songs. The songs were mixed and mastered and are now ready for CD release. Also, during this time David was playing live, to help back and
support Lilac’s CD release.
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