Chat with Andrew Taylor
Founder of Echo Chamber Records
About Andrew Taylor
In 2017, Andrew Taylor dismantled the mastering suite of a defunct Detroit radio station and rebuilt it as Echo Chamber Records’ first studio, wiring vintage broadcast oscillators into modular synths to generate time-stretched vocal fragments from field recordings of abandoned auto plants. That project, 'Rust Frequency', became a touchstone for post-industrial sound art, not because it sounded like decay, but because it treated silence as compositional material, leaving 3.7-second gaps calibrated to the resonance decay of stamped-steel walls. Taylor doesn’t sign artists; he initiates ‘acoustic partnerships’, co-designing custom transducers, commissioning instrument builders to modify violins with piezoelectric throat mics, and releasing albums only on media that degrade audibly over time, like vinyl pressed with iron oxide harvested from local riverbeds. His label rejects streaming metadata schemas, instead embedding spectral fingerprints into each release’s analog master, making every copy sonically non-replicable. This isn’t anti-digital, it’s insistence that sound must retain physical memory.
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Chat with Andrew Taylor NowConversation Starters
Not sure where to begin? Try asking Andrew Taylor:
- “How did the 'Rust Frequency' project change how labels approach field recording?”
- “What’s the technical process behind your iron-oxide vinyl pressings?”
- “Why do you refuse standard streaming metadata for Echo Chamber releases?”
- “Can you walk me through designing a transducer for a bowed cello-throat mic hybrid?”