David Lee Myers is a sound and visual artist working in New York City since 1977. He has released over eighty albums under his own name and as Arcane Device on labels including Starkland, Important Records, Cronica, ReR, Line, Silent, Pogus, RRRecords, and Staalplaat. Myers has collaborated with Merzbow, Toshimaru Nakamura, Thomas Dimuzio, Marco Oppedisano, Dirk Serries (VidnaObmana), Tod Dockstader, and Asmus Tietchens, among others. He performed his Feedback Music live from 1988 through 2017 in the U.S. and Europe, and he now concentrates on studio productions.

How would you describe music?

Edgar Varθse coined the term "Organized Sound" and I very much agree with that. Any music you can name may be described as intentionally structured sounds and noises.

What is your relationship to music?

Music and art have been my life — I couldn't exist without them. I tried to stop completely for a few years, but I got pulled back in almost against my will. I appreciate having listeners, but if there were none, I'd still create for my own satisfaction.

What draws you to the instrument(s) you play, and/or to composing?

Electronic circuitry and sound are the ultimate fascination — something from nothing! Especially with my Feedback Music, where devices not meant to generate sound are compelled to do so through unconventional routing. I differentiate this from using electronic instruments to mimic acoustic ones — like Switched On Bach, which I've always seen as a misstep for electronic music.

What groups or musical communities have you been part of, and how have they influenced your playing or composing today?

I was part of the downtown NYC scene in the 1990s, performing at venues like The Kitchen, Knitting Factory, and Roulette. More significantly, I was active in the "cassette culture" era, where independent artists circulated tapes freely. That DIY ethic still resonates — I now self-release about 70% of my output.

What musician(s) most influenced your approach to music, and why?

The Beatles initially, especially as they grew experimental. Later, discovering 1950s-60s electronic music — Stockhausen, Henry, Ligeti — was pivotal. But Tod Dockstader was the most significant. We eventually became friends and created two albums together, one of my most cherished accomplishments.

Who or what influences you most outside of music, and why?

Visual art has been an equal pursuit, with influences like Kandinsky, Gorky, Richter, and Whitten. I've done almost all my own album covers. I'm also a constant reader — Philip K. Dick, Bukowski, David Bohm, and P.D. Ouspensky have all influenced my perspective.

What deceased performer(s), improviser(s), or composer(s) would you most like to have a conversation with, and why?

David Tudor. We were both active in the 1980s-90s, but in different circles. His use of circuitry was a form of composition, much like my own approach. I regret not meeting him — our conversation would have been deeply inspiring.

What advice would you give to a young musician entering your field?

Do your own thing — but first find out what that is. It took me nearly a decade to understand my path. Don't chase labels or trends. I was once told, "I'd be interested if it were more uptempo." Bah! Avoid Spotify; embrace Bandcamp. And don't quit your day job.

What do you hope audiences take away from experiencing your music?

The same thing I receive from true electronic music: the opening of an unknown world. Sounds from nowhere, forms never imagined. It's about revealing the dimension of the electron and seeing how much of life is maya.

Where do you see the music you're involved in heading in the coming years? If you could shape the future of this music, what would it look like?

I've moved increasingly toward the atmospheric and ambient, and I expect that to continue. As for the genre — little has changed in 40 years. Honestly, I'm not sure I believe in the future anyway. Time is an illusion.

Where are you currently located or musically associated with?

I've lived in New York City for 50 years and made all my music here. I no longer perform live and am not deeply connected to any current scene. I've always been a bit of a lone wolf, so I don't mind.

What is your musical education or background?

I'm almost entirely self-taught, particularly in music. Being told how to create music is unimaginable to me.

What are some of your favorite recordings by other musicians or groups?

All of Tod Dockstader's work on the Owl label (now on Starkland). David Tudor's Rainforest, though meant to be experienced live. Mike Dobler's work on Bandcamp. Also: late 60s Miles Davis, Ravi Shankar at Monterey, Martin Denny's Exotica, Mark Hollis, Chas Smith, King Crimson, Terry Riley... somebody stop me.

What are some of your favorite recordings that you have made?

Also Sprach Zarathustra was perhaps my first ambient work. Reduced to a Geometrical Point and Strange Attractors on Cronica are favorites, as is my n28 trilogy. But really, I only release what I'm happy with, so they're all equal in that way.

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