The press release for the third album by Fred Szymanski's alter-ego Laminar, 2003's Nozzle, contains the following description: "Nozzle's starting point is the investigation of non-standard synthesis routines for creating music. As a whole, Nozzle is based on iterative functional synthesis and asynchronous granular synthesis, which involves developing musical structures by manipulating interactions at the sound-particle level." Got that? In plain English, this basically means that rather like his obvious hero, 20th century Greek composer Iannis Xenakis, Szymanski doesn't compose music in the traditional sense so much as write complex mathematical formulas and programs, then assigns them musical values. The pieces on Nozzle are the result: amelodic electronic soundscapes of whirs, clicks, clanking, and static. Szymanski does a better than average job of varying sound and mood in these seven lengthy pieces in comparison to many of his contemporaries, and it's an intriguing example of contemporary process music for those interested in such things, but listening to Nozzle, it's hard to think of anything here that Xenakis hadn't done a half-century previous.
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AllMusic Review by Stewart Mason