Patel Pretal formed in 2005 as an ambient pop/noise project, using sounds from radios, toy instruments and broken electronics as backings to disjointed and childlike pop songs. After a brief break while Dominik lived in Shanghai, Patel Pretal reformed in the Summer of 2006 and began to strip down and re-work their songs, adopting a more Spartan, minimalist drone based approach. During this time Patel Pretal began working with Pierre. From this point onwards they eschewed more song based structures and decided to limit their sound sources to only one contact microphone each, also employing computer and tape manipulation. Patel Pretal in the present day work primarily with vocals, building melodic, ethereal pieces, echoing those of William Basinski or Grouper. Recent activities include an interactive installation held in central London, during which they performed live for 5 hours straight. Besides several self releases, sold at gigs and via the internet, Patel Pretal have also released an EP through the Swedish netlabel Two Left Hands on Two Right Arms. After completing a mini tour of the UK in July, they plan to embark on a tour of China.

Band Info:
Katie is a student of Fine Art , Dominik studies Chinese and Pierre is an English Literature student.
More info/music, visit: www.myspace.com/patelpretal.

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Morgan Packard

Morgan Packard's sound is rooted in a decade's immersion in beat-based electronic music and informed by periods of intense study of jazz, western classical music, and computer programming. While his music may be wrangled into the minimal electronic category, he is actually eschewing minimal tropes in favor of highly wrought arrangements fitting multiple sensibilities into music that could easily be mistaken for existing genres, though when explored carefully, hardly fits into any. Using the form of techno/house/breakbeat music as a beginning, not an end unto itself, Morgan arrives at a sound which manages to synthesize ideas from the worlds of electronics, jazz, and classical in a manner that has no hint of experimentation, but rather a purposeful, concrete rendering of his vision.

The structure of Morgan's music begins with loop-based electronica. However he uses software of his own creation to subtly disrupt the "loopness" inherent in this form. Every iteration of a loop has incremental changes, which over time becomes something entirely different from its origin. The constantly shifting textures is due both to the software techniques employed and the hand guiding the results. Morgan carefully nudges the arrangements into music that pays homage to a host of techniques and styles that have come before it; taking those ideas and stretching them into new forms; adhering to select guidelines, while disregarding most.

http://morganpackard.com/