At once threatening and seductive, Pye Corner Audio’s mysterious, monophonic synthscapes sound like the analog-assisted future we once envisioned. Experimentation-prone proto-electronica, Pye Corner Audio’s output is steeped in flickering atmospheres perpetually haunted by the past. Whether it’s murky techno, deep apocalyptic house or queasy funk, Jenkins’s mystical material always walks a fine line between light and dark, malice and melancholy.
The mega-prolific Jenkins first embraced electronic experimentation upon purchasing a cassette 4-track machine decades ago. That eventually led to working as a tape-op at a London recording studio, where a string of talented engineers and producers schooled him in the technical aspects of composition. Finding his niche as a Pro Tools programmer and a mix engineer, he eventually began self-releasing his output in 2010 – four volumes of hypnotic techno and ambient music entitled Black Mill Tapes. His inspirations run the gamut from Detroit techno and Italo horror soundtracks to sci-fi literary giant Ursula K. Le Guin, so it’s no surprise cult documentarian Adam Curtis makes use of Jenkins’ music to score his disturbing filmic essays about power, politics and our contemporary chaos. He’s released under a number of monikers, allowing him to get in the right headspace for each project: Head Technician for stripped-down analog techno, The House in The Woods for darker drone and field recordings, and Pye Corner Audio for his cinematic hauntologies.
His largely improvised live performances frequently make their way back into Jenkins’ recording process, which involves lightly reworking snippets and samples on some iconic pieces of retro gear.