Even when Darren Jordan Cunningham was just a kid, DAZ or DAZ AUTOMATIC, growing up in Wolverhampton, there was something about him which stood out. « When I was at school, I was always being creative,” he remembers. “I was a very good counterfeiter – good at copying pictures. I was able to perfectly recreate pictures. At school you’d have projects for the term and we were looking at Sikhism. I think I was about seven. I was asked to create this massive mural of Guru Nanak using different forms – using sequences, dipped painted cotton wool, Sikh fabrics.” He pauses as he thinks it through. “I ended up applying that to music. I create sketches, essentially like these fabrics, and I collage them together…once I see the picture it’s embellished further and the proceeds repeats.”
He returns with a new album in 2017 and a new music system – “AZD” (pronounced “Azid”). An artist who has always preferred to make music than to talk about it, in “AZD” he has achieved another remarkable landmark, one which is as resistant to interpretation as it is demanding of it.
Cunningham is currently preparing a new live show. Presented as AZD, Cunningham says it “will be a test frame for linking circuits using various forms of language — Midi globalised language, Lyrical language, Tikal Graffiti code and various other Synthesiser language — to create one intelligent musical instrument called AZD, if successful it will produce the first translucent, non-soluble communication sound pill synergised through impressionistic interpretations of technological equipment. This is the music vitamin of the Metropolis.”
It’s an album which logically sums complexity with elegance, and diverts non logical linguistic tanks through the dispersion and subversion of ghetto gothic cut up technology.
Described by Cunningham as “Non dance based civilian mind groove, mapped to an external soul beyond the collapsing black hole…Music is chaos R.I.P Music”