on "empty music"...
from
http://www.soleilmoon.com/update.html
CRAWL UNIT Vs Silence CD
U.S.-based experimental project experiments with gentle yet powerful
subsonics and texture. "Vs Silence" is an examination of what isn't there
rather than what is. Skillful manipulation draws attention to the spaces
between the sounds. Never the same listen
i have not heard this, but have enjoyed the work of crawl unit in the
past..
a lot of the "mircosound" type bands claim to work with space and absence
of sound as well..
for me, however, the best examples of working with space and silence are
in the following:
1. the first part of nurse with wound's creakiness (originally released on
cassette as "creakiness" i think, but also on sugar fish drink.
2. nurse with wound's swan song
im sure there are more, but these songs always have struck me as a
wonderful contrast between the absence and abundance of sound.
chris
On Wed, 5 Apr 2000, James R McPherson wrote:
quoted 49 lines Perhaps the deepest disappointment I've experienced with IDM (or whatever
> Perhaps the deepest disappointment I've experienced with IDM (or whatever
> we call it) is the lack of well done "empty" music. By this I mean the
> use of space - empty space - not mere echo, reverb, or swaths of synth.
> While groups like Autechre (to use the most obvious and easily obtained
> example) create(d 'round TriRepatae) shimmering structures, songs that
> almost crystallize into breaking, by creating rhythmic maelstroms with
> beacons of melody shining through the dense, I find the opposite approach
> generally non-existent. That is, using the "beacon" without the storm.
> For example, in classical Eastern music solo and combined works (for
> pipa, shakuhachi, zither, harp, etc.) are very affecting in their use of
> few instruments and lots of "empty" space. I don't mean white noise, and
> I know true silence is impossible, but the space where the instrument/s
> are not in action. The classical Western canon seems more focused on
> larger bodies producing a more full sound (although there are exceptions
> to every rule). This parallel projects today - listen to (most) dnb from
> NA and Europe and then plug in your far more subtle Japanese artists
> (Bisk, Multiphonic Ensemble). Difference in approach is evident.
> So, where are the purveyors of the empty IDM? Perhaps they are there and
> I just haven't found them. Or perhaps Sven Birkerts gleans the truth
> when stating "technology and inwardness are fundamentally discordant".
> So it seems to my ears, as artists pile on as many tracks into each track
> as they can, merely because they can. Excepting rare tidbits where
> harmony is struck (and these are often SHORT tidbits - Richard Thomas'
> work on _Invsble Sndtrks_, i.e.), can someone point out to me the
> accomplished artists who paint a canvas with a single stroke?
>
> J
>
> np: space, the final frontier
> Join The Party @www.cpusa.org
>
> PS - To clarify: Porter RIcks reaches beauty to my ears by creating a
> false background of aurally full and space-filling synths, Plastikman
> does the same without the melody part, the Orb are far too busy, Arovane
> ascends to being Autechre with slightly less force, Shankar gets it right
> when solo dbl. violin, and Eno's early work is close but no cigar.
> Vadim's _USSR Repertoire_ accomplishes it at (brief) moments. These are
> the most common reference points I can communicate.
>
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it.s ok to like noise it.s okay to like house it.s okay to like pop
_we are all lost
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