"A mainstay of the Bay Area experimental music scene, Thomas Dimuzio played countless times at this comfortably carpeted venue, that kind of privately public space where it can be hard to properly tell the music apart from the community. Though ’LCM’ is technically a live album — two side-long suites, each built out of three continuous movements — it’s also been seamlessly composed from so many different nights that it represents an entire era, evoking the sites that allow music like this to come into being.

The often unrecognizable textures on this recording were all generated on Thomas’s carefully cultivated Buchla synthesizer. Being an early adapter of the relaunched Buchla 200e series, Thomas sometimes found himself informally acting as quality assurance, reporting workflow quirks and bugs directly to Don Buchla over the phone as he integrated more and more modules into his setup. Of course, Dimuzio knows that Buchlas are designed to surprise, not to be tamed — or as Don once barked in response when Thomas asked him about a module’s possibly unintentional behavior: “Well… does it sound Good?” ‘LCM’ is West Coast music, emphasizing surprise and opportunity over safety.

Though Thomas himself often jokes about the phenomenon of the ‘Mod Life Crisis’, which is part a reference to how undeniably expensive these instruments are — it’s less a secret than it is essential to recognize the role of Thomas’s storied career as a Test Engineer for musical software & hardware companies, dating back the early 90’s. His sprawling Buchla & Eurorack setups reflect a life dedicated to discovering and then exploiting the unexpected uses of our musical technology. Questions about how these strange sounds are being produced slowly give way to the undeniably musical logic on display, the way these recorded sounds find their own flow through time in seemingly different ways with every playback" - Jonathan Leidecker