"I like to try to bring the machine inside my body as much as possible," says Adam Morosky, who performs under the moniker Timeghost.
Morosky will be the first to admit that it can be difficult to characterize his art. He is certainly an experimental musician, but he also heavily incorporates visual elements into his live performances, blending between the worlds of live music and performance art.
And even when you isolate Timeghost's music, it's hard to put it into a box. The umbrella term for the music scene his is a part of is "noise," but Morosky believes that description doesn't do his work justice. "It's a struggle to find a genre name that fits what I do because sometimes it's intense and then sometimes it's really pretty cerebral and minimal. Oftentimes just being called noise is pretty reductive. I don't think that I make noise music. There are elements of noise but then there are elements of harmony and atonal music," says Morosky.
For the Timeghost newcomer and devotee alike, confusion is a goal of Morosky's. "That's another challenge that I'm working on right now, is figuring out a way to reach somebody in a cobwebbed part of their brain that they don't really go to very much and make them feel a certain way, maybe in their body, or remind them of something that they still don't really understand." He tries to "do that in a way that they don't realize where they're going until they're already there."
Morosky has developed a multitude of unique sound production techniques, each with their own visual element, for this project.
1. The mouth sensor
"A lot of times people think that I run microphone cables into my mouth but it's actually a photo cell. It's a light sensor. Depending on whether my mouth is open or closed, different amounts of light are going to hit this sensor... The signal flows through these cables, through my piercings in my cheeks, and then back into the synthesizer. By opening and closing my mouth, I can change any parameter on the synthesizer with this device."
2. A transducer with varying materials and surfaces
"A transducer is, essentially, a speaker without the cone. It's the magnet and it's the copper coil. You can attach that to another surface and that surface becomes the speaker cone, essentially. It's not just a way of displaying a sound and turning it into a visual thing, but it's a way that you can run a sound into a piece of material and certain frequencies will be brought out in the sound just because it's going through that material. Then when you place other materials on top of it then you might get this acoustic sound of them rattling or shifting around."
3. Non-Newtonian fluids, which shift between solid and liquid
"I started working with a non-Newtonian fluid of corn starch, water, and coconut oil, is like an emulsifier, basically. The results just really blew me away... You can actually see a wave form on the surface of the liquid while it's vibrating. With this non-Newtonian fluid the fluid becomes a solid when it's put into tension. Then when it's taken out of tension it becomes liquid again. If you do that in rapid succession it compounds into these really strange shapes that slowly morph and twist around in this chaotic way. I'm interested in how things can slowly change over time through repetitive motion. The blobs are totally mesmerizing."