Hmm, that is really interesting! Do these guys fit that description also:
Bernard Gunter, Ralf Wehowsky, and P16.D4
? What about the Pentax 12" and full-length on Profan?
Is a lot of stuff on Or pretty abstract?
solenoid
On Mon, 29 Nov 1999, Sean Cooper wrote:
quoted 43 lines after some thought on the subject, i find that, for the most part, i am no> after some thought on the subject, i find that, for the most part, i am no
> longer very interested in music per se. instead, i am interested in what
> might be described as organizations of sound that seem on their way to
> becoming music, but that never quite get there. i suspect this shift may
> have happened some time ago, but that i was not quite ready to engage it
> fully. here are a few recent examples of the sort of thing i'm talking about:
>
> - Mika Vainio, Ydin (Wavetrap)
> - Nosei Sakata and Richard Chartier, *0/r (12k)
> - Hecker, Xackpy Breakpoint (Or)
> - Ryoji Ikeda, Time/Space (Staalplaat)
> - Bernard Parmegiani, Rouge-Mort (Ina-GRM)
> - Rehberg & Bauer, ballt. (Touch)
> etc.
>
> i recall buying freeform's skam 12-inch many years back simply on the
> strength of the fact that it didn't "make sense" to me upon hearing it in
> the store. (this was not an aesthetic determination.) a couple of weeks
> later, i retired the record to my archive since i had managed to make sense
> of it after a finite number of repetitions, and because it only seemed to
> carry value insofar as it was inexplicable. (that is to say, my interest in
> the record was exhausted in the process by which it was made manageable
> from the standpoint of sense.) i don't think i managed to "learn" from this
> experience until relatively recently, and that what i'm looking for now is
> music that "lacks sense," either because it is absent altogether, or
> because it resists the imposition thereof.
>
> i don't mean "nonsense music" in the sense of music that is exceptionally
> goofy or humorous, but music which in a very rigorous sense resists
> attempts by the listener to "make it manageable." in terms used by the
> freeform example, i find that music of the sort listed above remains
> inexplicable regardless of the number of repetitions, and that it is
> precisely in this remaining inexplicable that its value is to be found.
> (it, of course, remains to be seen whether this doesn't constitute the
> final debasement of music, but i guess therein may lie a portion of my
> interest.) at any rate, i wish to maximize the instances of such "music" in
> my collection, the demonstration of the inexplicable, i find, being one of
> the few worthwhile concerns practiced among musicians.
>
> any recommendations appreciated,
>
> sc
>