Qu’est ce que c’est Random Touch? While words may fail to get at the heart of the question, they can surely puzzle out the edges of this multi-media group. Imagine work as enigmatic as, but less chic than, the films of Matthew Barney. Imagine work as fresh as, yet more angular than, Radiohead’s Kid A and Miles Davis’s Bitches Brew. Imagine playing with vibration, toying across a spectrum bracketed by the low thrum of a hammered steel girder and the electric punch of violet glaring up from sun drenched snow. Imagine a world of duality where everything works in circles, spirals and spheres, where the crude and the primitive torque into the sublime and the ethereal, where deviant genre splicing is performed with a dance above the heads of ancestors.

And locate them thus: on the surreal frontier of suburbia kissing the edges of the rural midwest, in the community-poor, hope- and fear-rich USA, atop the skin of a planet where a collision of cultures has sent the likes of gamelan

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Critics’ responses to Random Touch’s Hammering on Moonlight CD
Aural Innovations: “It’s composed more like a soundtrack to the fractured states of modern life, seen through the eyes of someone on the outside.” “This is challenging music that won’t languish in the background and soothe you. It’s not fast or loud, but it demands your attention to uncover all it’s complexities."
Dead Angel: “…a sound that defies categorization but is nevertheless quite listenable. Full of all sorts of unexpected diversions into deviant genre splicing and most rhythmic as well at times. We like. You should investigate.”
Progressor: “I would say that they have discovered inviolable laws where there seems to be no place for laws at all…I find it more and more attractive with each successive listen.”
Gothic Beauty Magazine: “…the more I tune in, the more I realize a structure developing from within a curious tonal mystery.”
Starvox Music Zine: “Experimental fans, and fans of augmented jazz, tak

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relationship is an old and synergistic one that began with collaborations in high school (an original rock opera) and college (commissioned multi-media piece Broken Glass among others). Although their work has evolved over the years, play and surprise have remained it’s constant companions, imbuing it with a child like freshness. 2002’s Hammering on Moonlight is their third CD release, and they recently completed work on their second film soundtrack, a feature film by Ines Sommer titled Ghost Cities.

Influences

ever ready to indulge the analog device, the child’s toy or the scrap of metal for whatever alchemy may arise. Serendipity and all forms of the accident act as their friend.
The Brown/Day

Bio

Qu’est ce que c’est Random Touch? While words may fail to get at the heart of the question, they can surely puzzle out the edges of this multi-media group. Imagine work as enigmatic as, but less chic than, the films of Matthew Barney. Imagine work as fresh as, yet more angular than, Radiohead’s Kid A and Miles Davis’s Bitches Brew. Imagine playing with vibration, toying across a spectrum bracketed by the low thrum of a hammered steel girder and the electric punch of violet glaring up from sun drenched snow. Imagine a world of duality where everything works in circles, spirals and spheres, where the crude and the primitive torque into the sublime and the ethereal, where deviant genre splicing is performed with a dance above the heads of ancestors.
And locate them thus: on the surreal frontier of suburbia kissing the edges of the rural midwest, in the community-poor, hope- and fear-rich USA, atop the skin of a planet where a collision of cultures has sent the likes of gamelan microtonality, the cave paintings at Lascaux and the statues and frescoes of Assyria and Minoa hurtling into their awareness, and finally, locate them somewhere near the hidden heart chakra of the Milky Way, in a solar system tucked away at the edge of the galaxy.
And identify them by action and intent: Random Touch founders Christopher Brown and James Day embrace their duality. They are simultaneously regional and cosmic and reverent and comic. They are playfully high tech musicians yet are