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Formed by composer/producer Jono Podmore, electronic musician Paul Conboy and fine artist Mark Hill, metamono follow the dictates of their uncompromising manifesto, barring themselves from using digital sound generation and processing, rejecting overdubs and microphones, and informing their unique approach to music making.
This is technopop from another planet of the imagination
David Stubbs

Their instinctive, improvised compositions are created using a selection of pre-used, borrowed and handbuilt vintage analogue synths and ring modulators, enhanced by the ethereal sounds of a theremin, a siren and a valve radio.

"Being able to download just about any sound imaginable is liberating in one way, but I’ve found it makes me less creative. Making purely electronic music while rejecting digital technology imposes limitations, but then actually forces you to be more imaginative and resourceful. We have to make every sound and of course that feeds into the rest of the aesthetic."

That aesthetic is evident at their live performances. This is technopop from another planet of the imagination, its regular and irregular patterns exuding a rounded warmth, a dimensionality missing from so much of today's electronica with its brittle, brand new, built-in obsolescence. This sort of durability doesn't come first-hand.

"It’s all found; radios have been unearthed, instruments and boxes are happened upon," says Hill, an artist with an ecological manifesto of his own and whose anti-consumerist philosophy is central to Metamono’s ethic/aesthetic. "One of our ruling principles is, if you don’t have to buy something new, just don’t."