Iamprimate

Iamprimate takes, as a starting point, the idea that avant-garde music is trapped by the oxymoron of post-modernism, and that popular music is enslaved by its reliance on market forces. The project aims to reconcile avant-garde composition into a coherent statement within popular music by placing popular elements into a space that is affected by avant-garde treatments, such as the use of location recordings and sound-concrète.

Iamprimate is poet, musician and artist PJ Norman. He trained at City University London in sound-concrète composition under electro-acoustic composer Denis Smalley. Studies of North Indian Classical Music and West African music developed improvisation skills in guitar which, combined with the influence of sound-concrète, began to form his distinctive 'feedback guitar' techniques. Further studies of Dada, Brecht, Artaud, Joyce and Beckett added another dimension: that of words as music and performance as art.

Preferring to approach music more as art than artefact, the lineage of experimentation to which he was exposed under Smalley's tuition remains a continuing motivation toward the exploration of colours, sound synthesis and synergy between disciplines. This exploration has led Norman to collaborate, perform and release music under many guises, often with critical acclaim.

In 2004 he became a founding member of the 100m Records Collective through which he released two full-length albums with the highly appraised electronic project tKatKa. In 2007 he released his first collection of poetry, Death of Romance and the Future of Now in a limited edition run of 50 copies. The book contains the long-form poem Biological Camera (A Day In The Life) which also features on the Iamprimate EP release We.

In 2009 he moved with his partner, photographer Diana Scheunemann, from London's East End to New York City. Since this move he has released his second book of poetry, Latitudinal Acoustic, and has been collaborating with electronic improvisation group Fates and Brooklyn post-punk outfit Glass Rifle whilst continuing to assemble his forthcoming solo full-length Light.Breaks.Focus.

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"Absolutely gorgeous."
MARY ANNE HOBBS (BBC Radio 1)

"The music that New York does best and loves best."
ANNIE NIGHTINGALE (BBC Radio 1)

"A mash up of drum rhythms and soulful pads changing from uplifting to dark in a blink of an eyelid."
IDJ MAGAZINE

"A combination of guitars and electro sounds with the hint of a rattlesnake in the background."
GLASSWERKS

"A whirring collage of warping electro beat melodies salaciously herded together under a glazing chassis of deliciously manicured updated Miami Vice like grandeur."
LOSING TODAY

"The mastery of beatwork is very evident, it's nice to hear a record more multi-dimensional than cold programming."
THE BLACK AND WHITE MAGAZINE

"Expect it to soundtrack a spooky art flick, but it won't because it's better than the film would be."
BEARDED MAGAZINE

"When you listen to this material with headphones it really takes on a life of its own as all of the various textures come together to create lush soundscapes."
COSMOS GAMING

"Nebulous post-industrial soundscapes constantly tweaked and realigned to create one of the most original electronic records of the year to date. 4.5/5"
THE MILK FACTORY

"Sounds like a highly caffeinated robot took over a decrepit Radio Shack and had its way with anything it could grab."
CHUBBY JONES

"Dizzying and compelling."
BRAINWASHED

"Experimental, rampant and very energetic."
RADIO ONDE FURLANE

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