ustralian producer Tim Koch started early, experimenting with a Tascam reel-to-reel four track, an endless supply of his siblings’ guitars, and a few 8-bit computer systems. An early fascination with 1978-1981-era Public Image Ltd. – especially Metal Box’s stark production and behemoth basslines – led Koch to play bass guitar and drums in a number of shoegaze-influenced rock bands. He soon developed a taste for more instrumental, sequencer-based music, drawn to its potential for experimentation and unorthodox sound sources. While studying at Adelaide University, Koch took advantage of the University’s EMU music-technology unit, surrounding himself with archaic analogue synthesizers and listening deeply to innovative composers like Varese, Stockhausen, and Ligeti.
Over five full-length albums, Tim Koch has explored countless moods and textures but never tied himself to one style. He initially found the attention of the electronic-music world
under the moniker Thug, layering Detroit-style pawn-shop beatboxes with rich synth pads; on subsequent releases, he reverted to his given name and toyed with more playful sounds. Koch’s recent full-length Faena refines all the elements of his career thus far while integrating acoustic guitars, female vocals, and raw found sounds. Over the years, the Adelaide-based Koch has released his music on labels including deFocus, Merck, U-Cover, Seeland, n5MD, and Intr_version and has composed for film, television, and video games.
Regarding 10:32, his newest project on Ghostly International, Koch’s remarks are as cryptic as his choice of moniker:
10:32 is the length of an albatross.
10:32 is a month and an age.
10:32 is soft skin on hollow hearts.
10:32 is quick feet on cool floors.
10:32 is seeing through your eyes.
10:32 is mornings into evenings.
10:32 is finishing before the end.
10:32 is ten thirty-two.