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.
Is this the deep end of electroacoustics? It feels (to me) like simulated murder theatre, a Francis Bacon painting, a live field recording of a concentration camp or slaughterhouse all compressed into... a piece of music? Or maybe the reverberations of a very ancient, very sick, very evil act:
Of all the time travelling electronic musicians, Stock has to be the biggest arsehole. I mean arsehole in a good way, ofc.
(If you got that reference: This is over. We're done with you.)
Well back to listening to the audiobook of Fifty Shades of Grey. It's fun. You can detourn the dialogue, reimagine or insert your own scenes, throw in some goblins or ghouls when EL James' endless descriptions of furniture, doors, and walls start to make you yawn. But the casting agent nailed it with Dakota Johnson. There can be no other Anastasia Steele. I haven't seen any of the movies so don't "spoil" it for me.