luka

Well-known member
Can't believe yacht-fascist Craner is reading this thread! The walls are tumbling down!
 

thirdform

Well-known member
all newer "academic" electronic music kind of sounds like that though. granular yet airy.

https://www.youtube.com/watch?v=skH3wBU8fsQ

can be cool but it makes me think of this https://bobostertag.wordpress.com/computer-music-sucks/

no, i agree actually despite being into this airy granular stuff, although not heard this geeza so getting on this album because i like it from sound of youtube. i guess plunderphonics is a bit of a gimmic in that world isn't it. i always thought it would be super cool to take all those late 92 into 93 really chipmunky records, cut out the beats (or more rather ascertain the sample sources) and basically have some freeform structure of hickuping soul divas and pitched up rap over those granular synthesised textures. it would be like utterly despised as well, which is what Bob Ostertag was kind of getting at in that piece, that was good to read. basically academia is a victim of its own success isn't it. cultural coding of a commodity so it remains their preserve.
 

treelethargy

many doors yes?
yeah saying something contentious right before going to sleep wasn't a smart idea. oh well, I guess I can wait lol.

everyone's probably heard this but
https://www.youtube.com/watch?v=_MahrtRVhkA

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
https://www.youtube.com/watch?v=_heTpX0772I
 

mvuent

Void Dweller
strange to think that overwhelming as it is, we're hearing amacher's music in what she considered a completely compromised form. (though obviously that applies to almost of all of this to some degree.) the ilm thread on her is surprisingly good.

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.
 

treelethargy

many doors yes?
putting this here, a discovery i was amazed by a while back ; very late 90s digitized musique concrète in this feminine sensory safe space. 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. i swear there's even vinyl crackles in this at one point? before burial and so on? the more intimate inhuman side of the coin. zanesi is a grm figure proud to say. this could be overloading in its intimacy though (which is always troublesome)
https://www.youtube.com/watch?v=JcZVwdyLKPo
 

blissblogger

Well-known member
. I downloaded, cheekily, vast amounts of the creel pone stuff, more or less at random a couple of years ago, enough that I still haven't digested it.

https://m.youtube.com/watch?v=kAEHELfXdfc

well it's unofficial reissues done without permission so you nicking it just compounds the original sin of the Creel Cru!

also, they have started putting the stuff on YouTube - i think the plan is they are going to go along with the general shift for reissues to be vinyl only, giving up the CD-R thing, and so the YouTubes are like adverts to lure in the vinyl fetishists

https://www.youtube.com/channel/UC0UiZIwReStoHOw0RCWHusA

i do love the stuff and have actually been going through it methodically, from #1 to ... well the series seems to have petered out in the early to mid 200s, although may well resume as it has after other seeming dead stops. so far i have got to #177 or something like that - it's taking ages - am trying to work out which ones are actually mindblowing, which good but generic (you do start to notice the avant cliches) and which dud. the hit-rate is variable but some of the stuff unearthed by Creel Cru is absolutely astonishing

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

i think it's something to do with the switch to digital - bit like how CGI can be amazingly detailed and real-seeming but doesn't have the magic of analogue forms of special effects and animation that involve models, stop-motion, drawn cels, etc etc

it's not just that restriction is the mother of invention (it's not like people have got less inventive) it's more.... ontological maybe is the word or something like that. there is something fundamentally disenchanted about digital means.
 

other_life

bioconfused
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.
gene tyranny and robert ashley.
i'm at the library studying and forgot to bring my headphones. gonna fuck off for a while, adding this stuff to the playlist gonna have to wait :v:
 

treelethargy

many doors yes?
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

the hauntology problem, seemingly. i actually enjoy a lot of ostertag's work. sooner or later is an album i could've mentioned here, but i haven't listened to it for a while because it's overloading in a dark way. he's very content but aggressive in that sense? sampling within his demeanor. i think i like a lot of seventies/eighties/nineties electroacoustics that don't depend on preset synth noise but don't just coat themselves in field recordings either. it's not a choice thing, though. it's an area of music that requires the artist to explore state of the art things and time and space, etc. independent devotion to the sound of altered realities. i think some fluxus artists did it right as well but more socially integrated and personal. roland kayn is the example i definitely stand by here, i can't keep tugging at quirky dated retrofuturism. think jean-claude risset's "sud" or luc ferrari's presque rien series (the latter had "avec filles" which is still one of my favorites of ferrari's). 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. coherently scrambled. like francois bayle sounding like going deep into VR cogs as was said earlier. there's a point of androgyny too. i think of it like how words are gendered in french. it's playing with the grammar of sounds and their consonants. still not accelerationist though which i feel proud to say

https://www.youtube.com/watch?v=Fhj2O4jToKI
 

thirdform

Well-known member
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
https://www.youtube.com/watch?v=_heTpX0772I

the one he did with haswell called electroacoustic upic recordings is the one. makes for some genuinely disorienting listening at some points. like 3d sounds in the headphones.
 

DLaurent

Well-known member
This could go in the Muslim Banger thread.


Most of this kind of music is too academic for me to dig in that deep too. I like some of that, Monty Adkins and the less water spilt on the keyboard type stuff. Or Norman McLaren films (proto mininal) where he painted directly on film. Kind of like the ANS synth used in Solyaris.
 

mvuent

Void Dweller
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.
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.

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.
 

treelethargy

many doors yes?
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.

brilliant. i think that gets across alone what i love to hear in experimental music. transmogrification. and the ideal of an environment slowly turning into gold is perfect too, connects the dots with my obsession with alchemy (i even mentioned androgyny prior!) a lot of alchemical elements appear in musique concrète and electroacoustics imo. it's built on a question; can you make the real world, including nature, noise, ambience, and our activity, our arts, sound better and more significant in value by altering and combining them? and if so, what status does it hold when you compare it to either of those things? surely there is a goal outside of the occult to be achieved. the fusion of the sciences
 

thirdform

Well-known member
these are market constraints after all but i like it when there is an attempt however much submerged to acknowledge the surplus value of production. hence i like weird more than *organic* like, i like the sounds of the construction of machines in my electronics. Luke calls it an anti-human tendancy because the sounds do not have correlates in nature. also why i find accelerationism as a theory unspeakably dull. If I was on the side of the bourgeoisie I'd wank myself stupid at the finished product but I tend to take the side of the proletariat and hence sound of all that irritating construction. like, some people say your anti-humanism or futurism goes nowhere as a kind of rebuttal of my tastes. and it's a good point, it's an argument worth taking seriously. but then I would ask why you would want to take the side of modern pop ironically knowing all the meticulous labour gone into its construction? Like i always say, to be true popcult you have to be a true believer. I'm not sure (personally) how its possible to hold the two positions contiguously. you can in the sense of valuing individual chart singles but not baroque notions of an artist. which is probably why academia hasn't been able to catch up with the most radical popular musics of the last 30 years because it puts a premium on serial originality and not (if not in reality then definitely in the law) an illegal black market economy.

I don't really like most western 60s psychedlia. Africa and Asia is a different story though...
 
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treelethargy

many doors yes?
leaving this here; you were all right about bayle sounding like virtual reality being pulled apart at the cogs or whatever. very very deep end but more scattershot and less focused on drones.

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...

wish he had a published book out! the peak of surrealism

https://www.youtube.com/watch?v=5375I5LXt1I
 

blissblogger

Well-known member
re. surrealism

one place where musique concrete / electroacoustics connects with that is the weirder end of animation


piotr kamler, with music by parmegiani
 
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