From solenoid Sent Thu, Sep 30th 1999, 10:44
From solenoid Sent Thu, Sep 30th 1999, 10:44
Hmm, that is really interesting! Do these guys fit that description also: Bernard Gunter, Ralf Wehowsky, and P16.D4 ? What about the Pentax 12" and full-length on Profan? Is a lot of stuff on Or pretty abstract? solenoid On Mon, 29 Nov 1999, Sean Cooper wrote: > after some thought on the subject, i find that, for the most part, i am no > longer very interested in music per se. instead, i am interested in what > might be described as organizations of sound that seem on their way to > becoming music, but that never quite get there. i suspect this shift may > have happened some time ago, but that i was not quite ready to engage it > fully. here are a few recent examples of the sort of thing i'm talking about: > > - Mika Vainio, Ydin (Wavetrap) > - Nosei Sakata and Richard Chartier, *0/r (12k) > - Hecker, Xackpy Breakpoint (Or) > - Ryoji Ikeda, Time/Space (Staalplaat) > - Bernard Parmegiani, Rouge-Mort (Ina-GRM) > - Rehberg & Bauer, ballt. (Touch) > etc. > > i recall buying freeform's skam 12-inch many years back simply on the > strength of the fact that it didn't "make sense" to me upon hearing it in > the store. (this was not an aesthetic determination.) a couple of weeks > later, i retired the record to my archive since i had managed to make sense > of it after a finite number of repetitions, and because it only seemed to > carry value insofar as it was inexplicable. (that is to say, my interest in > the record was exhausted in the process by which it was made manageable > from the standpoint of sense.) i don't think i managed to "learn" from this > experience until relatively recently, and that what i'm looking for now is > music that "lacks sense," either because it is absent altogether, or > because it resists the imposition thereof. > > i don't mean "nonsense music" in the sense of music that is exceptionally > goofy or humorous, but music which in a very rigorous sense resists > attempts by the listener to "make it manageable." in terms used by the > freeform example, i find that music of the sort listed above remains > inexplicable regardless of the number of repetitions, and that it is > precisely in this remaining inexplicable that its value is to be found. > (it, of course, remains to be seen whether this doesn't constitute the > final debasement of music, but i guess therein may lie a portion of my > interest.) at any rate, i wish to maximize the instances of such "music" in > my collection, the demonstration of the inexplicable, i find, being one of > the few worthwhile concerns practiced among musicians. > > any recommendations appreciated, > > sc >