Stephen Calhoun, sound designing and recording–since 2000–under the nome de plume Kamelmauz (was Kamelmowz,) I compose, design and assemble ambient and experimental music. My sound is inspired by esteemed influences too numerous to mention. The stylistic range is ambitious, running as it does from the exotic orientalism of In Khorasan to the experimentalism, dark ambient strokes, and noise-oriented blasts of Slidemare and Poor City.
My music’s central point is to provide ((me)) with the experience of flow and deep amusement enabled by making music and sound. I’m not a finicky music maker. I play my ears and have been working my sources as a listener for over forty years.
DJ Weirton, himself an influence on my ears’ journey, called In Khorasan, ‘world hed music.’ I like the term and feel he hit the bullseye of one aspect of my creative intentions. Ken Warren said of Slidemare,
It felt great to hear your studio Yin plucking, on the east end of Lake Erie, opening the chasm to another empty urban space.
I like his discovery.
Future projects include O meu toque, ambient and experimental works rendered on iPad and tweaked in Logic, the tentatively titled, Sum Soundz, where I return to the keyboard and synthesizer part of the studio, for some more shadow/slow ambient. My investigation of aleatoric music will find its way to Racket this year. More metallic guitar-driven dronology is in the offing, on the Slidemare II, (working title.) Pedal steel will be featured in On Your Way Down.
My soundworlds are rendered at nogutsnoglory studios, and, issued by Duty Free Records. Stephen Calhoun is my producer and graphics kingpin. Some might term this DIY, but I term it tautological!
Duty Free Records are distributed through Bandcamp. A single recording, Infinity, captures drafts, demos, working versions, and throwaways, make it to the endless record at Kammelmauz-Soundz on Bandcamp. All sonic outposts linked here.
Infinity (endless record! 2014)
Apparently, Suite (2013)
Apparently, There’s More (ep 2013)
Poor City (2011)
Sleeper (ep 2011)
In Khorasan (2001)
I utilize an Industrial Guitars Indy Rail (Emaj), a Melbert (by Bob Allen; Dm,) and Rondo SX LG1 (C# pentatonic) lap steels, and two circa 1970 Fender 400, 8-string, pedal steel guitars (B6/C#, modified E9.) Guitars are run through–most often–Guitar Rig from Native Instruments, 2CAudio’s reverbs, various pedals AbsynthFX, Reaktor.
I copped a Korg Triton for $20 at a garage sale. In 2012 I added a meeblip se hardware synthesizer, (now discontinued,) and a cheapo Korg Montron delay to the arsenal; these latter two are especially ennobled when plugged together.
However, I am mostly in the virtual hardware digital domain. Main synthesis platforms are Absynth, Alchemy and Reaktor, and I am a big advocate of 2C, Tone2, and D16, multi-effects plug-ins.
More recently, I have been learning a pile of apps for the iPad, of which I am particularly enamored of Gestrument, Alchemy Pro Mobile, Drone FX, Scape, Borderlands, CrystalSynthXT, TC-11, Orphion, Grain Science, Animoog, and, MixTikl.
I am experimenting with doing ambient performance mixes live to six track using two iPads, iPhone through an Alto desk, and, sometimes adding looped, eBowed, and processed pedal steel, lap, and electric guitar to this stew.
Apple computers, Focusrite Saffire I/O, Line 6 Sonic Port and Logic constitute the digital house all this sound machinery lives in.
At times I can jangle and mangle various hand drums, found percussion, and blow through an epoxy didgeridoo, plunk pentatonic vamps on an Ethiopian krar and electric mbira, and, load up and blow out various samplers. Field recordings are captured on an aging Zoom and iPhone.