treelethargy

many doors yes?
Nor 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
used the above quote in an essay on medium a while back but enough

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

 

other_life

bioconfused
i remember summer 2014 getting very into roland kayn and contrasting it with the sensations fix>skaters nexus>early 0pn 'hypnagogic illusion' stuff i was also into at the time. they're both perfect for being pleasantly sleepless on muggy nights. they both convey this sense of flows of code, the overflow of code. but the latter really only records the impressions of the surface, while kayn literalises this process in tape music by building these complex interdependent systems of tape machines. and it reflects on the music, bc he doesn't rely on traditional tonality and 'hypnagogic illusion' leans too heavily on the same.
 

treelethargy

many doors yes?
they both convey this sense of flows of code, the overflow of code. but the latter really only records the impressions of the surface, while kayn literalises this process in tape music by building these complex interdependent systems of tape machines. and it reflects on the music, bc he doesn't rely on traditional tonality and 'hypnagogic illusion' leans too heavily on the same.
the beauty in musique concrete/electroacoustics is that it's so densely coded, the sad part is how it's so academic as i've said. there's a lot to obliterate but a lot to cherish. it does obliterate a lot of material and cherish it either way

kayn flings open the material engines of dematerialisation
and so that material is dematerialised. musique concrete is imaginary music given a real vessel. that's why i love it so much. alas tho the hypnagogic illusion is a nice way to put the contemporary indie side of it. it was tried too severely. people fell in love with the lo-fi side of things. is there a state of the art? beats me lol. we both know we just want to override and escape aesthetic
 

other_life

bioconfused
hey dude the hypnagogic illusion is your concept. you/we should tell these people about it.
kayn feels exceptional in how RESONANT he is whereas people in his milieu feel more academic.
the shift of robert ashley from frankly Dry electroacoustic stuff into traditional tonal pieces but *mapped to the cadence of speech* and some subtly incorporating electroacoustic elements. where does this fit? 'automatic writing' prefigures in a crude way lots of 'hypnagogic illusion' stuff
 

other_life

bioconfused
there's also the very real temptation on my part to take refuge in/re-incorporate the lo-fi stuff when it's kind of been out of favor for ~6-7 years now and the HIGH DEFINITION! HIGH CONCEPT! HIGH GLOSS! HIGH ENERGY! thing gets grating, ESPECIALLY its poor attempts at being political... but again, we want to escape, transcend, or clash together both. and this deeper-end stuff (which is more your ballywick than mine i'll admit) helps point the way out
 

other_life

bioconfused
but at the same time, what's the contemporary tektra: autechre in max msp? i personally love that shit but never listen to it regularly, i know the board is pretty split on it.
 

treelethargy

many doors yes?
the HIGH DEFINITION! HIGH CONCEPT! HIGH GLOSS! HIGH ENERGY! thing gets grating, ESPECIALLY its poor attempts at being political...
a big sneeze

kayn feels exceptional in how RESONANT he is whereas people in his milieu feel more academic.
the shift of robert ashley from frankly Dry electroacoustic stuff into traditional tonal pieces but *mapped to the cadence of speech* and some subtly incorporating electroacoustic elements. where does this fit? 'automatic writing' prefigures in a crude way lots of 'hypnagogic illusion' stuff
admittedly i like some stockhausen. i think the academia is a problem. maybe i'm naturally academic?! anyway. robert ashley is another good point. "automatic writing" isn't overloading whatsoever but it's very definitive. kind of man uniting with machine. or man uniting with glitch. glitch being. and something like "in sara, mencken, christ and beethoven" of his is its inverse. same approach but falling more in square with overload. the synth sounds were even programmed to algorithmically match his cadence, it's like a touchstone in the unity of man, language and technology. but then again he was more of an american songwriter than a massive euro influenced polymath
 

thirdform

Well-known member
there is also

Ilhan Mimaroglu - Wings of the Delirious Demon from 69, basically hardcore rave birthing itself in front of your ears without even being rave, as such. all sounds sourced from a clarinet.

Bulent Arel - Minima I- Flux is a serialistic symphony of bleeps and bloops, yet still sounds astoundingly relevant even though it is most discernably from the 60s. I live silver apples of the moon and all that but it's from its time. Arel conjured something really magic here, proper otherworldly...
 

mvuent

Void Dweller
ok posting FOR REAL this time. thanks for posting the kayn work, it's pretty amazing so far. how this sort of electronic music differs perceptually from the kind of "experimental" electronic music that gets reviewed on pitchfork and stems from popular music is interesting to consider in depth imo. I was about to make a thread about it but maybe some of that would fit here. I think the idea of academic electronic music is pretty relevant to that, whether its values are good or bad.

any opinions on gesang or kontakte?
 

other_life

bioconfused
i need to give this one a closer listen, like right now. had some of the most intriguing sound design i've ever heard. also i shouldn't have said "traditional tonality" innit just Western Harmony. most Hypno Illusion back to the 60s is dependent on *that* and the stuff which explores different systems (which are still traditional) stands out ofc
 

thirdform

Well-known member
the 15 disc set of francois bayle is of course essential, you know what to do. grand polyphonie in particular, but l'experience acoustique is basically zoning into the internal cogs of a vr system whilst slowing it down.
 

treelethargy

many doors yes?
Well, Sote has tried to escape that academic ghetto. granted by bringing melody back in but his modular and fm synth patches seem to have a life of their own.

funny because sote's last few records could almost be considered a continuation of dariush dolat-shahi's "electronic music, tar and sehtar", and that one definitely matches the electroacoustic overload that i cherish with this thread

https://www.youtube.com/watch?v=BEBKDupzQcQ
 

treelethargy

many doors yes?
ok posting FOR REAL this time. thanks for posting the kayn work, it's pretty amazing so far. how this sort of electronic music differs perceptually from the kind of "experimental" electronic music that gets reviewed on pitchfork and stems from popular music is interesting to consider in depth imo. I was about to make a thread about it but maybe some of that would fit here. I think the idea of academic electronic music is pretty relevant to that, whether its values are good or bad.

any opinions on gesang or kontakte?

haven't fully heard either. me being me i opted to love the opera side of stockhausen. the licht cycle touches on his later electroacoustic side more. dienstag and freitag especially. not dated at all honestly! but my "academic worry" is about how exaggerated the focus on creating experimental/avant-garde music within a big iconic institution or university or whatever is, and how that gave birth to "pretentious" being the great shame word. no one says it about grm luckily but a lot of other things like what colleges dump into their curriculum... panic
 

thirdform

Well-known member
also a favourite, Jocy De Oliveira - Estórias Para Voz Instrumentos Acústicos e Eletrônicos

particularly the last track titled: Estória IV.
 
Top