KEROAÄN is a collaborative research project between IAN M FRASER and REED EVAN ROSENBERG exploring composition of electronic music by an artificial intelligence. Pieces are diffused in real time with no human intervention whatsoever as the machine agent manipulates the qualities of chosen non-standard synthesis and microsound techniques. In live diffusions, the machine agent additionally controls laser apertures and an array of strobe lighting which collectively act as a visual projection of the structure of its performance. A distinctly non-human logic pervades the resultant arrangements of chaotic sounds and high-intensity lighting, presenting an immersive, alien environment.

Keroaän – “Bairal-Jin Similarity” C-10 cassette









Keroaän – “Daunting In It’s Variousness: First In A Suit Of An Indeterminate Number Of Pieces” –  Copy For Your Records  hand-stamped fan cd-r // edition of 100.


/////////////////////////////////// REVIEWS ///////////////////////////////////////
“Keroaän is a musical A.I. program developed by Ian M. Fraser and Reed Evan Rosenberg using XENAKIS’S Dynamic Stochastic Synthesis… Non determinist “music” on a Fixed state machine- tricky… The subject is complex and ‘quite’ large, even to the idea of describing the sounds so produced, more than human / human description, I cant help wonder though i know Heidegger would disapprove, how any Dasein is authentic by nature of biology, a hence human air born auditory systems. This I’m exploring elsewhere, music – should it be limited to human auditory systems? Regardless this is a sound work, though its significance for me is much more in the move into territories outside of the correlationist’s ear. Here using A.I. and stochastics. One criticism (which is a positive generation arising from such work!) I have lies in the ontologies of Stochastics  Vs those of k-multicombinations, i.e.  multi sets  or bags, in simple terms the totality of ‘all possible’ rather than the non totality of probables. Probability has for me a possible emptiness in infinities, which is obvious in my own work. I prefer the pedantic algorithm to the  stochastic chimp, though this is not to be seen a pejorative description, the play of probabilities offers much, its potentially an embracing field (it includes Meillassoux’s future God!) and it strikes me as something more in my personal psychology to prefer “bags” to great apes. The whole project is commendable in its openness and the placing of so many themes on the table, it’s a pity I can’t explore more here. Possibilities, probabilities, infinities and time! What we hear is 10 or so slabs of noise and tones, drone like oscillations which rise and fall, the first signs of a colossus. A release which has not only sonic interest, one that should open up a discussion for anyone interested in music or sound art, and one way around or out of any HNW nihilism or correlationist’s circle.”

(jliat – vital weekly)

” Crazy computer noise that borders on unlistenable, except for the fact that it’s totally fucking listenable. Sounds of all sorts in here, helium struggling to escape from balloons, metal coins scraping against hard plastic, hail storms & train wrecks, avalanches & atomic bombs, DIY prop plane motor whir, NES consoles aflame, ancient computer hardware disintegrating before your eyes, even a brief techno interlude. Absolute aural destruction.”

(Justin Snow – Anti-Gravity Bunny)


“Geek duo from Philadelphia. About Reed Evan Rosenberg (Reed Evan Rosenberg) I wrote earlier in connection with his solo work, but Ian Fraser (Ian M. Fraser) for a new “modern music” people. Together (and separately) they are engaged in the generation of the sound on the computer using mathematical formulas and so on. In this case, they have written based on the ideas of Yannis Xenakis (Iannis Xenakis) software, which made this release. Who cares, learn how it’s done. And is it related to music?

By modern experimental – yes, definitely has. And if the hard dense loud sound more could be associated with harsh noyzovoy scene and its attendant brutality of the listener, then the structure of the mini-album will resemble rather something from the world of academic. Can not say exactly how the duo made a pause in real time it was written, or it is cutting pieces after. Essence is – pause to listen to configure a completely different way. Paying attention to all the sound and only him. Let the computer do it, even by accident, but it is so in the spirit of the time, as far as possible.Writing a brief break and then unleash a barrage of twists synthesized noise worthy to voice them, say, the next coming to Earth Transformers. “

(Ilya Belorukov – CMMAG translated by Google)


The diametric opposite of calm and serene is that strange inhuman noise offered by Keroaän, on a mini-CDR called Daunting In Its Variousness: First in a suite of an Indeterminate Number of Pieces (COPY FOR YOUR RECORDS CFYR03). This crackling and human-crushing diabolical noise may have had its origins in computer code, if the notes are anything to go by; they refer to Keroaän artificial intelligence, developed by Ian M. Fraser and Reed Evan Rosenberg. The actual music of course is performed by Keroaän itself “without any human intervention whatsoever”. Give yourself time to work through the unfamiliar and near-painful sensations afforded by the gritty surfaces here, and eventually you may be rewarded with near-musical swipes and unearthly screams of complaint issuing from the bowels of this huge chunk of code as it passes through the functions of a media player. The performance is also chopped apart into segments that incorporate heart-stopping silences in among the grunckering brattlements, acting in a grotesque parody of conventional musical dynamics. It may seem stilted and unnatural at times, but the achievement here is the glorious impossibility of it; no human being could ever bring themselves to the point where they might conceive of making noise music in this way, let alone have the courage to execute it. Proof once again that the machines are taking over, and they will win. Fraser and Reed may one day manage to write a machine-readable script that acts as a simulacrum for a virtual Merzbow. Note also the use of the Cagean term “indeterminate”, and the painterly brush work on the disc adding a splash of fine-art loft-scene vibe. From 16 January, another nifty slice of marginal New York experimentism.

(Ed Pinsent, The Sound Projector )


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