by Peter Tracy
The mellow buzzing of synthesizers and electric organs has been used in popular music for decades now, but some of the first people to experiment with these instruments were classical and avant-garde composers. The mid-20th century saw a wide range of composers creating new works that mined the expressive potential of electronic instruments—a trend that is continually unfolding today.
On his new album Teenages, composer Qasim Naqvi shows us that a synthesizer can change and respond to its player just like any other more traditional instrument, creating a surprising and one-of-a-kind journey of an album in the process.
Teenages is played entirely on an analog modular synthesizer, which is a synthesizer made up of multiple synth units connected together without a playable interface like a keyboard. Essentially, the machine generates tones while the player guides it, turning knobs to change frequency, create rhythms, or add timbre filters. What makes Naqvi’s machine so special is that he built it himself over the course of two years, and the process of the instrument’s evolution is catalogued on the album. Reflecting on the process of learning his machine’s quirks, Naqvi found that it seemed to react to his impulses in surprising ways and to mature over time, which inspired the album’s title.
The first five tracks of the album were created in the year leading up to the title track. They give us a sense of the machine’s evolution, beginning with “Intermission,” an atmospheric and ambient track that starts from almost a single tone, expanding slowly to include pulsing sounds of different timbres and pitches.
“Mrs 2E” brings in some more recognizable material, with stuttering beeps and blips fluttering around the steadier rhythms of something resembling a melody and bassline. “Palace Workers” continues this progression, with a quirky but danceable percussion section keeping a steady beat. This is joined by a bouncy, repetitive synth line that starts to give a sense of harmony. By “No Tongue,” Naqvi and his machine have learned to work together to form what sounds like an ensemble of electronics featuring a bright, melodic hook, lively textured rhythms, and scattered beeps and clicks.
While “No Tongue” is animated and restless, “Artilect” takes us into deeper waters with a low, pulsing drone that makes you wonder what could be around the corner. This leads us finally into the main event, “Teenages,” an almost 20-minute track which brings together everything that came before. Multiple synth lines build steadily upward into rich harmonies to form what sounds like an electronic orchestra playing an oddly off-kilter sort of anthem. These chords are then warped and spun through different filters, with fluttering synths imitating and reacting to each other over time to create what feels like a journey through the mind of Naqvi’s machine.
For Naqvi, modular synthesizers feel almost alive in a way that he wanted to capture by treating Teenages like a live album: the title track, for instance, was recorded in a single take, with no edits or overdubs. Showcasing the sometimes-unpredictable behavior of the machine was a priority for the composer, and this makes for an album that is always evolving and transforming into something new.
In the end, it is both Naqvi turning the knobs and the machine interpreting his actions that come together to create something of a collaborative album between a man and his machine.
