Caural is one of contemporary music’s evil geniusus.  He’s not really evil at all.  He’s actually one of the nicest kids you’ll ever meet.  He has released albums on Chocolate Industry’s and Mush (check them out on itunes).  His music is deep and lush, with a head-nodding groove that’s hard to resist.  He also manages to wedge in his sharp sense of humor in his music, somewhere between the kick and the snare. 

here’s what he had to say about this little gem:

Entitled "Goldwave" after the sound-editing program used to create it,

this piece was conceived in 2003 while I was employed as a

quality-control and customer service representative at a

telephone-based dating service. My job entailed listening to thousands

of low-quality recordings of eager singles describing themselves and

the qualities they sought in their ideal mate, and then editing each

for content and efficiency of space (i.e., removing the "uh"s and

"um"s which spelled disaster for each caller). Through the repetition

of hearing both the natural melody of our human voice and what was

said with it- encompassing every cliché from "long walks on the beach"

through bizarre and inappropriate sexual innuendos, as well as the

recurring use of superfluous jargon like "you know what I'm saying"- I

realized these 8-bit recordings shared a unique aesthetic and, coupled

with their inherent ambient sounds (background noise, the clicks of

disconnected calls, static, etc.), they became unconventionally musical.

During work-time lulls, I began composing short rhythmic passages by

editing percussive elements of the articulated consonants and aural

clicks in the waveforms, and eventually incorporated a more complex

use of spoken words and programming to create melody (repeating

millisecond-long durations of noise generates audible tones, and you

can vary their pitch by choosing smaller or larger samples as starting

points). Some pieces are entirely additive and were made by combining

audio from multiple enrollments, while one of my favorites (beginning

at 0:15 in the left channel) was purely subtractive: I eliminated

every discernable sound and phrase except for nervous faltering. I

have included elements of 17 monaural songs, blending them together to

create a stereo effect; no additional programming or alteration of the

sounds was completed, thus maintaining the original, raw quality of

the recorded media as well as each distinctive voice within it.