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Phillippia Artemis Fletcher


Student. Maker. Geek.

"Has anybody seen my glasses?"


A Doepfer A-100 Modular Synthesizer rack system is a good place to start. Put it together with someone who seems to have a brain that thinks in Fourier space transforms and nonlinear electronics and the results are something that is either a terror unleashed upon humanity or a mind-blowing trip through fractal soundscapes that leave you aching for more when they fade. She's not a performer, she's a composer and conductor working with a symphony of wire, silicon and vacuum tubes. She doesn't play an instrument, she designs it, creates how it sounds from raw sonics to a final product of crystallized chaos.

This isn't music for the masses: recycled Bach brogressions or blues-scale licks. It is a taste to acquire, to nurture, to explore. Engage with it, challenge it, let it drag you down the rabbit hole to places you would never expect.

Plus it's got a good beat and you can dance to it.

Live From The Lost Continent

Claiming to be a nightclub showcasing experimental and electronic music, The Lost Continent is an invention. If it exists as any real place, it is Flip's mind, an imaginary space to fill with an audience, light and sound. Weekly she publishes an audiocast of what is supposed to be the headline act, ficticious bands with names like Bulbasaur, Levo Dopa, or No Exit featuring Godot (who never actually perform, some other act taking their place.)

What follows is a mocked live show, complete with audience, in wildly differing styles and completely differing sounds. Progressive, House, Dubstep, Ambiant, even Baroque chamber music on an analog synth quartet. Mercurial and diverse, these set pieces are not always pleasing, but that is the point of experimentation. Breaking free of superstitions about what music is and can be. The results are erratic, but when the goal is the transformation of an artistic medium, you occasionally need to break a few eardrums.