pyr203
dadala - it so happens
release date: december 1, 2016

erconet  guitars on tracks 3, 6, and 7. ukelele, dulcimer, oud/bass/leather sofa, oud, thumb 
piano and effects, singing bowls, drum kit, mobile app on track 1, synth on track 8, 
ambient mixes on track 9.

paul mimlitsch  bass clarinet and effects, guitar and effects on tracks 4, 6, 8 and 9, 
contrabass recorder.

loopy c  drones/ambient sounds, beats, glitch and textures, virtual combo, virtual bass 
and percussion, other sounds.

darius  additional treatments on tracks 2, 3 and 5.

frank wilke  trumpet on track 5 and trombone on tracks 8 and 9.

all tracks edited, arranged/mixed/remixed and produced by rdunlap in 2016.

paul mimlitsch performed overdubs to the mixes for tracks 1 and 7, and darius 
contributions were prepared to the mixes in progress. most of the rest of the source 
materials used to produced this album were downloaded from these locations: loopyc, erocnet, 
r369improv, brass-lines

photos from pixabay

tracklist
01. the opening 02. if i remember 03. bufferstring 04. it so happens 05. all the best 
06. ask me again next time 07. steeltale 08. note to passengers 09. exponential spring

http://dadalamusic.com/
https://www.youtube.com/channel/UC_Ubk3ipsY2vmdN5--gJkjw
https://soundcloud.com/dadala
http://loopyc.com/
https://www.youtube.com/user/Erocnet
http://erocnet.bandcamp.com/
http://soundcloud.com/r369improv
http://www.panyrosasdiscos.net/darius/

the listener is often not going to be able to tell what was intentional and what was 
happenstance, what was live and what was manipulated, or in what sequence parts were 
recorded. in dadala what sounds intentional was probably serendipity, and what sounds 
random was probably played that way on purpose.

dadala began in 2004 with the album recycles, which remixed and combined earlier materials 
from rdunlaps archives (solo projects and collaborations recorded 1985-1996). the project 
was and is a continuation of rdunlaps long history of exploring alternate routes to music 
and audio-art, going back to the 1980s when he bounced recordings from one cassette deck 
to another, performing overdubs on the fly. with the second dadala album the project also 
began to incorporate other material from a growing list of eclectic and experimental artists 
encountered online by rd. at that time only already-existing recordings were used.

by 2007, when the sixth album candy fish barrel was produced, a new, more band-like dadala 
emerged which had begun to settle into a core group of contributors and also started to 
incorporate new material recorded specifically for dadala.

around 2009 loopy c (chris r. gibson) became an important and regular part of the project. 
gibson (who was a member of the band jesus wore dickies, among other episodes in a life-long 
involvement with music both as an artist and on the studio/engineering/software side of 
things) brings vast amounts of raw material to the dadala table via his blog as well as 
private contributions, including material processed from earlier dadala tracks and member 
recordings. this new relationship resulted in the eighth dadala album spaghetti wall (2011) 
and introduced another new incarnation of dadala which has continued to include loopy c 
material in every track.

by 2014 with some new members coming aboard, dadala had evolved into an international 
ensemble blending improvisation with digital alchemy, collage and serendipity. as of early 
2016 the current active members (in addition to rdunlap and loopy c) include roger 
sundstrm of Sweden (aka erocnet  guitars and various other stringed instruments, drum kit, 
soundscapes and more), the ensembles newest member paul mimlitsch in colorado (aka 
r369improv  bass and contrabass clarinets, contrabass recorder, guitar, electronics and 
more) and andr darius of france (basses, vocals and more). frank wilke of germany (aka 
brass-lines  trombone, trumpet and more) is a featured guest on many tracks. these 
contributors are active in online communities involved with improvisation (for example 
sound-in.org) and also performing at real world venues. darius, mimlitsch and wilke can be 
found in various collaborations on numerous releases from a long list of netlabels.

the way dadala tracks come together varies widely. improvisation occurs not just in the 
instrumental performances but also in the mixing and production process. unlike conventional 
and intentional composition, dadala is an exploration of coincidence and synchronicity, 
including arbitrary elements and chance along with careful craft and manipulation. all the 
members of dadala get to enjoy novelty, surprise and new perspectives on their work in the 
process.

the members contribute a wide variety of recordings ranging from unprocessed acoustic 
instrumental solo improvisations to elaborate digital experiments created with sophisticated 
cutting-edge software, equipment and techniques. founding member rdunlap uses these 
recordings as raw material to arrange, combine, remix, edit, layer and otherwise manipulate 
to produce dadala. pitch shifting and/or speed changes are sometimes employed and individual 
notes or phrases may get moved around in the editing process, but nothing is ever 
automatically quantized or locked to any grid, nor is any sort of auto-tuning applied. 
everything is done by ear and intuitively.

members sometimes perform overdubs to mixes in progress. other times completely unrelated 
recordings are combined. sometimes overdubs end up being used in a different mix than they 
were recorded to. sometimes material is used pretty much as is and combinations are left 
to play out as they will. other times there is extensive editing and manipulation. it can 
be like building sculpture as an assemblage of disparate parts or like chiseling a statue 
out of a block of material, sometimes both.




