Andrew Duke has been composing, producing, remixing, and performing music since 1987. His music is consistently referred to by the media and listeners alike as continuously presenting a unique and distinct sound; quotes: “Andrew Duke creates music that sounds like it has a reason for living” (The Wire, UK); “He often seems to be inventing new genres” (Cyclic Defrost, Australia); “Andrew Duke renews my faith in the world of slow-mo techno” (Igloomag/Microview, USA); “Andrew Duke reinvents himself almost with every release” (All Music Guide, USA); “Andrew Duke puts his soul into his experimental music” (The Halifax Daily News, Canada); “The man behind the East Coast electronic music scene, Duke displays a different facet of his skill with every release” (Exclaim, Canada).
Andrew Duke has been composing, producing, remixing, and performing music since 1987. His music is consistently referred to by the media and listeners alike as continuously presenting a unique and distinct sound; quotes: “Andrew Duke creates music that sounds like it has a reason for living” (The Wire, UK); “He often seems to be inventing new genres” (Cyclic Defrost, Australia); “Andrew Duke renews my faith in the world of slow-mo techno” (Igloomag/Microview, USA); “Andrew Duke reinvents himself almost with every release” (All Music Guide, USA); “Andrew Duke puts his soul into his experimental music” (The Halifax Daily News, Canada); “The man behind the East Coast electronic music scene, Duke displays a different facet of his skill with every release” (Exclaim, Canada). Consumer vs. User (Phthalo/USA) was nominated Album of the Year (Urban) at the 2006 Music Nova Scotia Awards. Two PSAs he scored for the national Racism: Stop It! campaign were recognized with awards in March 2005. His Sprung album (released on France’s Bip-Hop label in 2002) was nominated for Album of the Year (Electronica) at the 2003 annual Canadian Independent Music Awards.
Duke has been writing about music since 1981 (published in Computer Music, Magic Feet (UK), Vice, XLR8R, Urb, Grooves, Igloo, ei, Streetsound (US), GCFC’s Spotting Notes, Exclaim, The Coast (Canada), and others) and his articles have been reprinted internationally in languages including French, German, Italian, Polish, and Serbian; since 1987, he has hosted Andrew Duke's In The Mix (a weekly radio/internet show syndicated at one point to over 35 million weekly listeners worldwide), produced artists at his Cognition Sound studio, and produced events across Canada. He formed the Cognition Audioworks label in 1990 after operating Incognito Musique and Digitalis Recordings (1987-1990). Cognition Audioworks' online home is the Cognition site: cognitionaudioworks.com (ranked as an "essential" website and one of the Top 200 sites on the net, music-related or otherwise, in The Wire, October 2000). Duke has been a jury member for Canada’s Junos (the equivalent to America’s Grammys; 2000, 2001, 2006, 2007, 2008), Indies (2001), DMC DJ Championships (Halifax regional; 2008), DJ Olympics (1998-2005), and Dig Your Roots (2002, 2003); he was a panelist at MUTEK_Intersection (2003). He has been a member of the Guild of Canadian Film Composers as well as Halifax's Upstream Orchestra and Grrrilla Orchestra (led by Paul Cram). Duke has served on the Board of Directors for the National Campus and Community Radio Association. He is also a music software educator and a visual artist whose work has been exhibited internationally.
Duke’s music and sound design has received international recognition in the press, with features published in Germany (Newempire), Turkey (Basatap), the UK (Virgin Encyclopedia of Popular Music, Jockey Slut, Absorb), France (Coda, Clarknova), Belgium (Ultra), The Netherlands (Het Parool, Wreck This Mess), Italy (The Vibes), Spain (Go), Poland (Syntezatory), Finland (Phinnzine), Belarus (MG), Macedonia (Urban, Fakezine, Star6_789), Chicago (Thousand Words), Boston (Weekly Dig), Houston (Signal To Noise), Toronto (!earshot, Chart, Eye, Umbrella, Subway), Montreal (Mirror, Hour, Voir, Ici, Nightlife), Ottawa (Xpress), Vancouver (Discorder), Edmonton (See), Winnipeg (Stylus), St Catherines (Pulse Niagara, Freq), Saint John (Nightwaves), Sydney, and Halifax (Herald, Coast, Gazette, Daily News, Soundcheck, and Idiot).
Selected discography Andrew Duke
albums and EPs:
2009: “Who Is John Galt?” (Open Concept), “Carnival (Remixes)” (Nice & Nasty/Dublin Xpress); 2008: Aqua (Ping Things, Canada); 2007: From The Deep End (Afe, Italy), Organic (Cohort, USA; a split with Akumu); 2006: Consumer Vs. User remixed (Stratagem, Canada), Consumer Vs. User (Phthalo, USA), Andrew Duke + I8U—Symbiotic (Pertin_nce, Canada), Organic (split CD with Akumu, Cohort, USA), Sonic Atmospheres 1 (Audiobase, Canada), “Chain Reaction” (FOEM, Germany); 2005: Second Opinion (Phoniq, Canada), Dead Air Alive (Petite Sono, Canada), Oscar The Grouch (or, Yes, The Dog Ate It!) (Polygon Network, Canada), “Inbox” (Sinergy Networks/Klitekture, Spain); 2004: Just Because You Can Doesn’t Mean You Should (Cognition Audioworks, Canada); 2003: Take Nothing For Granted (Cognition Audioworks, Canada; licensed to Acid Fake, Macedonia), “Environmental Politics” (and/OAR, USA); 2002: Sprung (Bip-Hop, France), More Destructive Than Organized (Cognition Audioworks, Canada; licensed to Bake/Staalplaat, The Netherlands), 74’02 (split with Hypo) (Tsunami Addiction, France), Physical and Mental Health (Dial, USA), Highest Common Denominator (Piehead, Canada); 2001: Sit/Stand: Live Humidity, “09X90” (licensed to Tiln, USA); 2000: “Erosion”; 1996: Ginga, “Orchestral Suite for 707, 727, & Strings”; 1995: Numeric, “RZ Tracks”; 1994: Ashes and Ceremony, “Schotoma”, “Lucidril”; 1993: Drowning In Oxygen, Communion (Cognition Audioworks, Canada).
upcoming: Mick Chillage, Catalepsia, Genetikal Twins, Monkey Harris, Stefano Vozza, Peter Sweeney, Mike Absolom, ADSR, Lilad, Signal Deluxe, Kelli Hand, Chaircrusher, Unique 3, Smacs & Patrick Kong; 2009: Eight Minus Eight (X 2), Tomi Chair; 2007: Every Kid On Speed; 2005: Souns; 2003: Eta Carinae, Cornucopia, Marufura Fufunjiru, Gary Flanagan, Galerie Stratique, Heavy Meadows, Loam, Nemezis, O.S.T., Phonopsia, Seed, Syntix, Zenial; 2002: Aaliyah, The Blameshifter, Chicks On Speed, Club Telex Noise Ensemble, Mister Nobu, Pink Floyd
scoring and sound design for film, television, video, web, theatre, and radio:
upcoming: sound design for Fire & Fog (film, Tim McDonough, Saint John); 2009, 2008, and 2007: sound design for Computer Music/Future Publishing (UK); 2006: sound design for Equinox Sounds (Spain), Fxpansion (UK), Audiobase/Stockhouse Media (USA), Psyclist (film, Pyrrhus Productions, Luxembourg), The Last Hour (Michael David Neelsen, USA), Ohrmong (film, Stefan Bauer, Germany), MMMNNNRRRG (website for indie comics label from Portugal), Sound Ideas (Canada), Computer Music/Future Publishing (UK); 2005: sound design for Sound Ideas (Canada), Computer Music/Future Publishing (UK), Music Tech/Anthem Publishing (UK); sound design featured on Native Instruments (Germany), Freesound (Spain), Archipel (Canada) sites; The Stereotype, Racism Learned, and 2 others (Anti-Racism PSAs, Sobaz Benjamin, Halifax, Canadian Heritage, Viewfinders, Much Music, CTV, and CBC); 2004: Likewise (web installation, David Clark, Halifax), One True Measure (film, Jason Levangie, Halifax), The Iceman (film, Joel Maillet, Halifax), Passing Through People (film, Tim McDonough, Saint John), The Other Game (film, Rob Calnen, Halifax); 2003: Sheldon Haunting (film, Simon Naylor, Halifax), Petra (play, Theatre Direct Canada, Toronto); 1996: Let Sleeping Armadillos Lie (play, Keile Legge, Halifax); 1995: Local Music Scene (documentary, Andrea Simmons, Halifax); 1987-present: various radio spots (CKDU, Halifax). Duke’s sound design has been used in promos for TV’s Survivorman (Discovery Science and Outdoor Life Network channels, 2006), and his music has been licensed for television and radio productions, most recently BBC TV Channel 4 and CBC TV’s Sex Traffic (nominated for 14 Gemini Awards; Redlight Productions, 2005) and CBC TV's Snakes & Ladders (Political Productions, 2004). He placed 2nd in the competition to score Aliant's 2003 Here. For You. advertising campaign.
2007: SSSSSOSS3 (Folding Cassettes/Awesome Vistas, US); 2006: Sex Traffic DVD (CBC TV, Canada), Colored Lights (Kikapu/Breaking Tension, Canada), Fear Of A Digital Planet (Vinyl Republik/Maximum/Universal, Canada), Die Like An Animal Dies (Divorce, Canada), Keeping The Neighbors Up All Night (Pertin_nce (Canada), Breaking Down The Barriers (Afe, Italy), Interconnect (Stratagem), Descension (Nokami, Canada); 2005: Strategic Sounds Vol. 1 (Stratagem, Canada), Music & Image (Atlantic Film Festival/Music Industry Association Of Nova Scotia, Canada), East Coast A Go Go (VVVU, Canada), The Last Signal (Independent Opposition, US), Living Music 2005 (Centrediscs, Canada); 2004: Samplicity—One Step Further (Syntezatory, Poland), C-works (Locus Of Assemblage, UK/Zeromoon, USA), The Polygon Minute (Polygon Network, Canada), Il Programma De Religione (Boyarm, USA), Fifty Fifty (Halifax Skatepark Coalition, Canada), Looping Spork Part 2 (Tuningspork, USA), Poetry And Chaos (Chmafu, Austria), 10 Below (Petite Sono, Canada), Stasisfield: Year 2 (Stasisfield, USA), CTNERMX (Delta B, UK); 2003: Anomalous Silencer no.6 (Napalmed, Czech Republic), Recovered Patience (Chmafu Nocords, Austria), Phonography.org 4 (Phonography.org, USA), Zenial Reworked (Vivo, Poland), The Best Of CKDU Live (CKDU, Canada), SFEECD10 Sfeericle (Canada), CTNERMX Vol. 1 (pHinnMilk, Finland), Lambda (Megahertz, Germany), Pop Life Vol. 16: Extension of Electro: White Spaces Converge (Contact, Japan), Stars From Worthy Skies (Worthy, Canada), Volume 2 (Futursonic, Canada); 2002: Save Your Fork, There’s Pie! (Piehead, Canada), Installment: 05 (Masstransfer, USA), 45 Seconds of: (Simballrecs, USA), Waveforms: Halifax Electronic Music (Cognition Audioworks), File Sharing (12times50, UK), Compilation 002 (Acid Fake, Macedonia), Try Again (Tsunami Addiction, France), Halifax Pop Explosion (HPX, Canada), Bip-Hop Generation vol.5 (Bip-Hop, France), Unseen (Worthy, Canada); 2001: Integral Components (Component, USA), Looping Spork Part 1 (Tuningspork, USA), NSCAD 2001: Sound Compilation (NSCAD, Canada); 2000: Nightwaves: Compilation Vol. 1 (Eleven Wave, Canada); 1999: East (Impulse To Injury, Canada) and Halifax Experimental Music Festival (PA, Canada); 1995: Digital Sects 2 (Matrix, USA) and Surreal Sound Vol. 2 (Surreal Sound, Belgium); 1994: LVXVRIA II (Enlightenment, UK); 1993: Collection 3; 1992: Collection 2; 1991: Collection 1 (all Cognition Audioworks).
online: Aesova.org/tiln, ChemicalPictures.net/Likewise, LatLonSnd.com, Microsound.org/Madrid, Microsound.org/stoneripple, NewMusicCanada.com, QuietAmerican.org, Stasisfield.com; physical: 2002: “HRM H2O” Signal & Noise: Festival of Video & Sound (Video In Studios, Vancouver), “Make Believe Ballroom Hour” Closet Gallery (The Khyber Centre For The Arts, Halifax), “Dead Air Alive” Dalhousie Art Gallery (Dalhousie Arts Centre, Halifax); 2001: “Ground Fault” (outdoor location, San Francisco)
in Vancouver, Edmonton, Toronto, Montreal, Quebec City, Ottawa, Kingston, Hamilton, St Catherines, London, Winnipeg, Saskatoon, Fredericton, Saint John, Moncton, Halifax, and Sydney at various festivals (MUTEK dans la rue, New Forms Festival, Atlantic Jazz Festival, Spring Fever, Networkings Festival, Pop Explosion, East Coast Unauthorized, and Experimental Music Festival) and venues.
Andrew Duke is available for print, radio, and net interviews, live bookings (performances as well as music software and hardware demos/workshops), scoring, sound design, and remixes.
If you have any questions, please email on firstname.lastname@example.org or email@example.com