all newer "academic" electronic music kind of sounds like that though. granular yet airy.
can be cool but it makes me think of this https://bobostertag.wordpress.com/computer-music-sucks/
at a san francisco performance 2-3 years ago, the initial response of the crowd when the 'third ear' effect crept in was terror; it sounds like your ears are clipping, in a way they usually only would at incredibly high volumes. but it's actually not even that loud; I remember turning to my friend to say the word 'wow' thinking it'd be inaudible, only to hear the word come out quite clearly. once people realized that they were safe, total euphoria kicks in, you've never heard anything like it, people were walking around with shocked smiles on their faces. she's doing incredible, unique work.
gene tyranny and robert ashley.essentially an opposite to the electroacoustic overload and dated in that sense because it makes use of keyboard presets and stock sounds and so on. the way it's done is incredible though. a suite of teletubbies soundtrack type atmospheres.
been trying to figure out also why (as per quote from bob ostertag) the fifties, sixties, seventies etc stuff sounds so strange and demented and like opening up new universes c.f. more recent decades of work in this vein doesn't sound as liberated or expansive
maryanne amacher!! good lord, her music is for times when i don't care about listening environments anymore. i love her, a definite figure in electroacoustic overload.
usually within the autistic experience this would be a big no-no. but i ended up being a part of the merzbow generation (the kids who grew up with torrents.) i can feel the atonal dosage
unsurprisingly at one point i had to bring up florian hecker, his music is well set for electroacoustic overload
completely agree! sud is kind of the archetypal example for me too, especially the last section where the natural sounds from the beginning become harmonic. makes me imagine the waves, birds, etc. turning into gold or something.it's why i use the term "post-psychedelic", i.e. p-orridge, because it's not intended to be psychedelic and it came after psychedelia, but it still aims to alter reality through the imagination.
LSM: Do you think of yourself as a surrealist composer, then?
KS: I recently gave six concerts in Norway, where I performed Mittwochs-Abschied (Wednesday Farewell, 1996), a work of electronic and concrete music, and I presented it as a music that was not only surreal, but transreal, in the sense that it creates expectations of events that could happen, but which turn into something completely different, strange, but it isn't the strangeness that is transreal; it is the miraculous nature of the musical transformation. Of course, there's a lot of surrealism in my music.
Miracles. That's what is beyond soul. That's the next big thing. The return of miracles. Quite looking forward to it now I put it like that.
completely agree! sud is kind of the archetypal example for me too, especially the last section where the natural sounds from the beginning become harmonic. makes me imagine the waves, birds, etc. turning into gold or something.
Erosphère is my name for that membrane of nerves which surrounds our world with its network of, waves modulating into an infinite number of frequencies; that cloud of infra- and supersensible heat radiating from megabillions of biological sources; that ring where the force of this cosmos of desire circulates.
We live within the Erosphère and desire is our destiny.
Audible vibrations are part of the continuum of that general vibrational state ranging from the very low frequency pulsation - for example the cycle of a human life - to the extremery hot and excessively dangerous rays of cosmic space.
The geometrical laws which surge together like waves on a wind-tossed sea - in the vibrational field, the laws of the octaves, the genesis of the harmonics, tonalities, phases - all have an intense existence in the narrow traveling band of frequencies our ear discerns.
To express the generality of these laws, to make them felt musically, is the dream - or the delirium - which mobilized me in Erosphère-. Simply to make it felt.
For example, by violently contracting or expanding masses of sound events (playing back acoustic images at speeded-up or slowed-down rates); distorting groups of frequencies on the computer by playing them through comb filters consisting of hundreds of fine teeth; making acoustic imprints of bodies on surfaces (comparable to Max Ernst's frottages or some of Yves Klein's pictures); producing reverberations which synthesize virtual spaces.
...let us explore the Erosphère a little further...