many doors yes?
used the above quote in an essay on medium a while back but enoughNor do all the facets bear images. Some are dusty, some cracked; some are filled with senseless images of insects, or else with a vague, churning scarlet, shot with sparks, Some are as transparent as gin. Some are bright as mirrors and reflect our own faces … and then our eyes … and behind our eyes, distantly, our polyhedral thoughts, glinting, wheeling like galaxies.
- hollis frampton
i am young and on the autistic spectrum and probably for half of this decade i've been using extreme deep ends of music to cope. rock is a scapegoat i learned from, drone and noise are basic bridges. i think the past few days might be the best experience i've had with music in recent memory. engaging a lot with the titular deep end. a lot of exhaustive (if i had to give it a buzzword? potentially "post-psychedelic". scratches an itch to say it and its mildly adapted from genesis p-orridge.) records that i've made my way through the entirety of recently ; roland kayn's "tektra", coil's "time machines", per nørgård's "expanding space", jean claude eloy's "gaku-no-michi". massive soul swallowing records. the frampton quote comes into play here because i get the impression of massive surfaces being very closely looked at when i listened to those records. like a tarkovsky stalker ordeal (because everyone loves pointing out how slow and massive that movie is). and especially because of how emotionally (unemotionally by intention but my heartstrings are autistic) overwhelming they are, there isnt really any academic crap i can see in them which is an issue i worry about a lot, say, am i posh but existential ... am i still privileged as i drift through time ... sort of thing. post-blogspot era millennial problems. but there is a distinction between starbucks ambient and pseud clusterfuck ambient if i had to give them funny names. of course no one could ever see roland kayn being played at starbucks but it could be a good time to see william basinski being played. what i love in, gah, post-psychedelic electroacoustics is how the responsible artists are transformed by the creation of it. it's not performative. a critic said kayn removed "the narrative element and the psycho/emotional minutiae". what i'd do to see those pulled apart in action, but "tektra", then, isn't background music. it's either for a sensory deprivation chamber or for being constantly afraid by daily life. not entirely sure how to put it. take a listen. skip in or hear first few mins. deep end electroacoustic music for the autistic mind. torn down chapel sounds