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weird scratchy noises, high pitch frequencies, melodies and patt

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  • ALJ
    2) The constant emphasis on the lack of tunes being considered as an automatic minus point by the reviewer - OK, I myself find 52 minutes of the kind of noise
    Message 1 of 1 , Jan 22 6:33 AM
      "2) The constant emphasis on the lack of tunes being considered as an
      automatic minus point by the reviewer - OK, I myself find 52 minutes
      of the kind of noise that seems to have comprised the 1st half of this
      gig grating. But others clearly enjoy this kind of thing, so who am I
      to suggest that it is definitively inferior? The assumption among
      Guardian writers (and those who work on the criminally awful Melody
      Maker) is that music must contain tunes to win credit - I don't want
      this to turn into some kind of contorted intellectual debate, but this
      strikes me as a kind of cultural imperialism - are Guardian writers
      now going to slam the Congo pygmy track found on the new Wire Tapper
      CD because it doesn't have a conventional tune? Shame on those
      Central African savages! How dare they not provide white Europeans
      with hummable tunes!"

      I first got into improv-free-music thinking it was some kind of
      bizarre sub-sect of noise. derek bailey, thruston moore, and the 13
      ghosts legend of the blood yeti was my first improv album.I had no
      idea that this music could ever be conceived as a form of jazz or
      even rock. it was
      just noise, i thought it was kinda "radical" and I being a "weird"
      person naturally this was my type of thing.Well actually thats not
      true when I really think about it anything different I find fairly
      exciting so i subgected myself to
      a few incredibley almost inaudible experiences, of note being John
      Zorn and Eugene Chadbounre's "In Memory of Nikki Arane" . next i got a few
      more derek bailey's and some noise albums (ground zero "revolutionary
      pekinese opera..." and Masami Akita (aka Merzbow) Electronica for
      Romantica) all of this was noise-nothing more. then one day... I
      started to hear...music...
      i think it was first with masami akita i began to hear beyond the
      sheer brutality of the noises being played and began to hear music
      . chadbounre and bailey became to seperate artists clearly and
      distinctively not playing just noise but actual music.it was music
      just like any other music, it has its virtues and stuff, but it was
      nothing more radical than rock or techno or anything else. I had
      laerned to listen in a different way. Listening to pan sonic I had
      learned to hear the smaller background noises as they interplayed
      with the entire peice and the way in which you can piece different
      musical patterns together to hear diffrent beats and sections and
      stuff. Basicly if you try and listen in any attentive sense to improv
      you will discover its just music. of course ppl out there do seem to
      find it really tuff to consider music as anything more than a sigil
      of one's hipness or just background clutter for everyday life. Not to
      say that most ppl don't listen to music they actually enjoy.
      improv, to me, is the music of conversation.
      play and forget as Otomo Yosohide characterizes it. improv is not noise, it was never
      intended to be. I am under the impression that improv is defined as spontaneous
      compisition and in the theory side of music is a form of rebellion
      from the usual "dictatorship of the conductor". a breif memory of the
      cyber-titles of early Bailey recordings a conscous intellectual
      decession. intellectually improv
      could be linked with fluxism in a sense playing with the
      indeterminacy of the musicians "we play better when its windy" (Davey
      Williams) or as conceptual music.then agian I don't really know, I've never
      read a book on improv or even had a discussion with an improv
      musician( oh actually when I think about i have talked to a few improv
      musicians, but never on the subgect of improv) I'm speaking entirely from my
      impressions of improv music I have encountered.

      anyways a peice of free music i have enjoyed recently is Nuno
      Rebelo's Nerve Leap which is aviable for free at:
      Rebelo's internet site is: http://www.ip.pt/~ip000771/
      its essentially a bunch of sub-aquatic ambient-esque sounds with
      Rebelo playing what sounds like table top guitar over it, but I
      beleive it is
      one of Rebelo's "mutant guitars" specfically engineered to make all
      sorts of weird noises and played with jarring regularity. calls to
      mind a sea of noise or data. my younger
      brother asked me if the mp3 file was corrupt and frankly I have not
      ruled that possiblity out of the mix, but regardless Rebelo's two
      aviable internet works nerve leap and philomon are both fairly enjoyable and
      interesting although the guitar racket in the background of philemon
      certiantly detracts from the peice for me at least.
      anyways I now feel releived of my desire to chip in for awhile now
      oh and does anyone out there have the new Kevin Drumm? FE gave it a
      good rating just wondering if anyone else thinks its decent. with the
      exception of site specific of I've found Drumm's work to be really
      bad ass.

      have fun
      kind regards
      Mo DreamN home remedies for common DC problems
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