Recyclone continues to explore existentialist and end-of- the-
world themes on Evidence of the Impossible.
“I’m trying to figure out what it is to be human,” says Jon Hutt,
the human behind Recyclone. “Recyclone is a way for me to explore
and try to process why we do the things we do. It’s not coming up
with an answer, it’s thinking about all the stuff that makes us
human: the good stuff, the bad stuff, the stuff in the middle.”
Previous Recyclone releases were created out of Hutt’s raw
reactions, steeped in anger and alienation. Evidence of the
Impossible sees a change from mere reaction to more deliberate
contemplation and consideration. Threaded throughout are
questions on what drives humans to create or destroy.
Produced using over 600 organic, homemade samples, the music on
Evidence of the Impossible represents a 20-year dream for Hutt.
“The way I had envisioned making music for Recyclone had been to
capture sounds wherever I was, in every environment, and make
songs out of these sounds,” he recalls. “I used to carry a
Dictaphone around with me and record sounds like city buses,
jackhammers, factories. I remember at one point I had a garbage
bag full of cassettes, thinking ‘How the hell am I going to use
all of these?’ I became so frustrated that I ended up throwing
them all out. I literally buried my dream of making music this
way until about six years ago. That’s when I got my iPad and my
good friend Andrew Gordon Macpherson [ANGO] told me about the
Hutt still wanted to bring a human element to the beats, even
though they’re programmed. “I would make multiple samples of the
same sound and then play them at different times so it sounds
like an actual human playing it, as opposed to a machine.”
The samples used include sounds from a filing cabinet, a drawer
of silverware, a child’s ukulele, water jug dispensers and a
homemade one-stringed guitar.
“When I was away from my drum kit and wanted to make music, I
would use whatever I could find. Some of the samples for the bass
drum were from my fist pounding a kitchen counter and some of the
snares were me clanging cookie sheets together.”
Through clever programming, noise and dissonance, the results
sound much more sinister than the sample sources would suggest.
released August 11, 2017
Produced and engineered by Jon Hutt at Chaos to Order Studio, Truro, Nova Scotia, Canada.
All vocals, instruments, samples and programming by Jon Hutt, with additional editing and mixing by J. LaPointe.
Mastered by J. LaPointe at Archive Mastering.
Graphic design by Daniel MacDonald, artwork and photography by Jon Hutt.