IDM Mailing Archive

quoted 15 lines i believe a 'track' can have millions of layers of sound and still

> i believe a 'track' can have millions of layers of sound and still > remain minimal ... similar to sitting back and listening to a loud, > punkrock > band in a crowded bar and allowing the overall 'sound' or 'ambience' > dominate or remaining at a stop light with a tape recorder blinking red > and finding out later the time slips by much quicker in real time. i > would not like to define 'minimalism' as anything "too" > specific. i would say that some people feel it's a broad reference point > to something > yet undiscovered ... or, simply, making something the most effective, > using the fewest elements.-> a pure-headed type approach? > > the term can also be good to use when nothing else fits. even the most > complex, multi layered music has to stop somewhere. so why not think > positively and hope that sound will continue to amaze in whatever

form. these are my sentiments exactly, reducing the volume of audio to the point its nearly sunc below the threshold of the human ear doesnt make audio minimal, i think minimalism as a philosophy is multifaceted especially in audio. can be applied to the most dense shriving of activity to the thinnest microwave warble to the actual construction/equipment used in the process of composition(which is something ive been keen on the past bit) to confine minimalism to one single element is an error _w the permutation diode- www.telusplanet.net/public/adroxy/ lo-fidelity@onelist.com(mego, panasonic, organic composition, raster/noton, reel to reel, collage music concrete, minimalism, etc._

On Wed, 4 Aug 1999 adroxy@telusplanet.net wrote:

quoted 5 lines doesnt make audio minimal, i think minimalism as a philosophy is

> doesnt make audio minimal, i think minimalism as a philosophy is > multifaceted especially in audio. can be applied to the most dense > shriving of activity to the thinnest microwave warble to the actual > construction/equipment used in the process of composition(which > is something ive been keen on the past bit)

Speaking of which, a guy called Atsushi Tominga made a 7" out of microwaving a pair of contact mics (as in, putting them in a microwave). It's mostly electrical hum, interrupted by blasts of static. I admit it would sound pretty stupid on the radio, but the entire package (cover is a paste-on photo print of the mics dangling above the rotating glass platter) is a perfectly balanced, museum-grade aesthetic experience. No surprise that it should be released in association with the Japanese label WrK, whose distinctive conceptual imprimature it bears. Also recently digging _Musiche Sole_, a compilation LP of electronic works from Roberto Barbanti, Letizia Bolgnesi and Luca Miti. I've never heard of any of these people before, but their work is extremely chilled-out electronic drones that would be taggable as "conservatory-esque" if it showed signs of rigor. On the other hand, the works date from 1980-1990 so maybe those institutions are opening up a little. In short: WDR on 'ludes. Look for it in the forthcoming "The roots of Windham Hill" series as installation #15 (1-14 being occupied by Popol Vuh records). Receiving the Apollo House award for sounding Apolloesque (or is it Apollonian?): the Reznicek contribution to their split LP with Klangkrieg. -rob