This or That.

version

version

Well-known member
Yeah, I'm not clicking my fingers and bobbing my head to it or anything like that. It's more about just taking in the textures and sounds. The louder, clearer and more immersive it is, the better. eMego's Recollection GRM label is a good place to start, they've been steadily reissuing a bunch of stuff from the GRM for a few years now - http://editionsmego.com/releases/recollection-grm/
 
luka

luka

Well-known member
version said:
Yeah, I'm not clicking my fingers and bobbing my head to it or anything like that. It's more about just taking in the textures and sounds. The louder, clearer and more immersive it is, the better. eMego's Recollection GRM label is a good place to start, they've been steadily reissuing a bunch of stuff from the GRM for a few years now - http://editionsmego.com/releases/recollection-grm/
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you definitely want that sense of microfocus i agree. sounds under the microscope. like bacteria writhing around on the slides.
 
C

Client Eastwood

Well-known member
quick thoughts, i don't have a lot of time nowaday's to post but i still read often. old timer with kids etc, but this is interesting. imagine hearing Pharoah S "we got have freedome" without the vocal. what would it mean then? do vocals force you frame your mindset into conceptualising a mostly instumental track to mean what the player of the intended to convey.
 
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Client Eastwood

Well-known member
what about listening to a piece of music collectively. it should have no name and no title to see what subjective interpretations we experience.
 
luka

luka

Well-known member
im not sure but i would like to think words reinforce rather than direct.
that for example, if coltrane had titled the tracks on ALS
budgie
canary
ostrich
wren
we would still read the music in much the same way as we do now.
or have i misunderstood the question?
 
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Client Eastwood

Well-known member
i think mad mike (UR) said the tones in thier music are to allow ppl to 'metaprogram themselves'. something about tones and percussive rhythms used carry subliminal messages.
 
luka

luka

Well-known member
it's why i think the crucial driver of the '60s 'revolution' was the mainstreaming of black music.
 
luka

luka

Well-known member
i think music was the main (not the only, far from it) thing shifting consciousness. i think that it is impossible to see the immersive medium until you can find some way to leap out of it for a moment. and that music can allow you to do that. change the parameters.
burroughs calls reality
a constant scanning pattern
so the game is to disrupt and redraw the scanning pattern
acheive that and reality changes.
 
S

sadmanbarty

Well-known member
luka said:
im not sure but i would like to think words reinforce rather than direct.
that for example, if coltrane had titled the tracks on ALS
budgie
canary
ostrich
wren
we would still read the music in much the same way as we do now.
or have i misunderstood the question?
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do you know the names of the tracks on this? are you getting a similar experience to love supreme?


how about on resolution? spiritual name, but i'm just hearing a sort of hokey jazz thing. not life affirming like acknowledgement

 
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luka

luka

Well-known member
i'll get back to you barty (listening to the radio show for the 100th time)
but people fret about whether music has the power to change the world
without realising that it already has, severel times
 
luka

luka

Well-known member
questions to ask when encountering music.
what movements and manners does it map out? what elegances does it encode? what excellencies?
what sophistications of understanding and attainment?
what does it aspire to?
what is the good life?
how is time structured? and what pace does it move at? what does it feel like to be in a body moving at that tempo, and in that rhythm? is this a fairground ride or is it otherwise?
can you imagine talking like that? walking like that? feeling like that? where is the weight centred? are you light on the feet? marching?
do you not like it? what is it to not like it? what is causing the discomfort?
do you like it? what is it doing to you that feels good? why does it feel good?
is it redolent of an era? which era? what is it that ties it to its time? or what is it about its time that is preserved within it?
a comportment? a psychological attitude? a bearing towards the world? how is that enacted in the music?
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this is why i keep returning to this list of questions. there is a scale of values embodied in music. a ratio of needs.
 
luka

luka

Well-known member
Bang Diddley said:
in instumental music with no titles. could the the artists intentions/emotions of the message be completly different from how the listeners experiences it.
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absolutely. it can be. just as words can change their meaning depending on who is recieving the messsge
 
luka

luka

Well-known member
the same applies to any book. part of its intended message is time and culture specific. part of it is purely personal, accesible only to its author. it doesnt stop it from being language.
 
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