luka

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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.
 

thirdform

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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.


this is what i've been trying to do with barty but he doesn't want to join the cult. neither does corpsey. the tyranny of european melodies. that is the real fascism. the delicacy of melodies. fascists hate jungle savage music! fascists hate any mysticism that doesn't accord with their half baked helena blavatsky crap.
 
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luka

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there is a scale of values embodied in music. a ratio of needs.

15-03-2018, 08:31 PM #85 sadmanbarty's Avatar sadmanbarty sadmanbarty is offline
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the voice distorts when shouting. we hear distortion in music as aggressive
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15-03-2018, 08:53 PM #86 luka luka is online now
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Quote Originally Posted by sadmanbarty View Post
the voice distorts when shouting. we hear distortion in music as aggressive
the medium
is the mesagge
https://deepmeditationtherapy.blogspot.co.uk/
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15-03-2018, 08:57 PM #87
 

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do you ever notice your body physically empathising with music? if a note sustains; do you keep exhaling with it? stay tensewith it? stay still until it ends?
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15-03-2018, 09:01 PM #88
 

luka

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It's why musicals work so well - all the musicals I know are Disney movies, but nevertheless, it's an easy transition from speech to song, and the singer expresses emotion much as they would in speech, yearning in whining tones, pitch soaring in excitement etc.
rap'n'bullshit
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15-03-2018, 09:13 PM #93 luka luka is online now
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there's what we talked about wrt shakespeare as well. if a character is raging they're not just saying angry words they're speaking in angry rhythms etc
https://deepmeditationtherapy.blogspot.co.uk/
 

luka

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“What is a god?
A god is an eternal state of mind
When is god manifest?
When the states of mind take form.
When does a man become a god?
When he enters one of these states of mind.”
ezra pound
 

version

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this is what i've been trying to do with barty but he doesn't want to join the cult. neither does corpsey. the tyranny of european melodies. that is the real fascism. the delicacy of melodies. fascists hate jungle savage music! fascists hate any mysticism that doesn't accord with their half baked helena blavatsky crap.

R-4071128-1354258194-4585.jpeg.jpg
 

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i once heard someone say that when doing guitar solos have every melodic idea should be contained within the length of a breath.

I write loads of rubbish edm music for work so use a lot of white noise sweeps. usually there'll be one filtered up and then one down,, very reminiscent of breathing.

same thing with reverse cymbal sounds

brushes probably work similarly.

pure sine wave bass sounds are very womb like for me. the feeling of being cocooned is understandable, if you're hearing something through a wall the bass is going to be the main thing coming through, the higher pitches filtered out.
 

luka

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this can also be a space-time effect. and you get a lot of this in dub, not just with the echoes
but with the sensation of a sound approaching you and then receding. as the noise of a train would
if you were standing in a fixed position by the tracks. it helps create three dimensional space in time.

or think about how bird-song in a forest makes distances audible. situates you within a matrix of sound
coming from multiple positions and along multiple axes. multi-dimensional.

in a purely aural medium how do you situate yourself in space?

bird-song in a forest makes distances audible

you rely on these coordinate points.
 

luka

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as i remember it both reynolds and kodwo would try to map this out at the level of the body. there's an exercise which comes up again and again and again in therapy and meditation and relaxation. you will have all come across it. you lie down, or perhaps you sit, and you make a deliberate effort to become aware of each individual part of your body. to become conscious not just of the major points of contact with the enviroment and the major engines of motion and the joints, but of everything in turn.

and i think what those two were suggesting, or what i intend to suggest, or reiterate at any rate, is that with jungle you invoke the same kind of all-body awareness and control, given you are being pulled in multiple directions at one, and at multiple time signatures. to use that charles olson world again, you get a much more sophisticated sense of proprioception than you do with the billie jean, for instance.

found this very relevant section of more brilliant than the sun

"clenched resistance to rhythmic psychedelias usually manifests as a return to mere musicality. to follow the breakbeat is to reject this [r]earview response, to land on the planet of your body made newly audible by rhythmic transvaluation. the rhythmachine captures your perception sa it switches from hearing individual beats to grasping the pattern of beats. your body is a distributed brain which flips from the sound of each intensity to the overlapping relations between intensities. learning pattern recognition this flipflop between rhythmelody and texturhythm drastically collapses and reorganises the sensorial hierarchy.
THE BODY IS A LARGE BRAIN.
the body is a large brain that thinks and feels a sensational mathematics throughout the entire surface of its distributed mind."

or in other words
the self is not centred in the brainbox it is a distributed cybernetic system of maximal information and communication, feedback loops and bliss accelerators

or from the same book
"breakbeat science's rhythmic involution forcibly inducts you into a new motor system"
 

luka

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what is tension? the held breath.
what is release? the exhalation.

bartys just sent me an email saying

If you play a metronome to a baby, their brain we’ll be active just before the beat. It’s inherent in us to expect it. It’s confusing if you defy that expectation.
in other words you condition them to a stimulus, in the behavourist sense. when a happens b follows. which is another fascinating way of looking at this stuff. you're learning patterns, not at the conscious cerebral level, but at the level of the body, of muscle memory and etc
 

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there is also a social element to the kinesthetics

if you enter an unfamiliar subculture, hearing unfamiliar music, you might be initially confused by what you're supposed to do in terms of responding to the rhythms and to the demands made by the music

but you look at how the crowd is moving and they are showing you how it's done, so you pick it up almost unconsciosuly

there is an instinctively mimetic thing that you get into, where you want to fit it, join the tribe

i think entrainment is the word some would use for this process - a kind of synchronisation with the collective and its rituals

so for instance as much i found the techno releases in 91 - things on R&S and Orbital and so forth - thrilling when i played them at home, it wasn't until i went to a rave and saw the crowd that i really understood what the music was for, what its modes of release were. it was the sight of the crowd going crazy, but going crazy in particular structured, ritualized, social ways, that so impressed me to the point of a conversion experience

i read this amazing book Stolen Lightning: a social theory of magic by Daniel O'Keefe a few years ago and one thing discussed in this enormously long, dense book was a phenomenon that occurs in certain tribes or tight ethnic groups particularly in Malaysia and Indonesia - called latah. And it has other names in other cultures. It's a form of compulsive, often collective mimesis:

"... the widely reported propensity of primitives to get fascinated by any prepossessing sight around them. in some societies, individuals caught by such fascinations compulsively imitate them: they imitate waves, birds. As late as the nineteenth century whole Cossack regiments would be seized with this compulsion and endlessly mimic an officer. Such phenomena are called 'olon' in Siberia, 'latah' in Malaya, 'atai' among the Mota... Latah is surrendering to outside fascination, becoming what you see"

So there is some kind of nexus here of tribalism, authority, group-mind, cybernetics, the urge to merge, oceanic feelings, ego-diminishment...

(one might also note the proximity of the word fascination to fascism, although i think the etymological roots are different)

perhaps the heightened (drugs, loud sound, darkness, flashing lights) environment of a club or rave is where we can regress to a more primitive (and open to mimesis / conformism) vibe-tribe mentality

shed our individuality

of course some find that scary - hence, IDM - dancing alone inside your mind
 

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Luka and SMB - a quick question. good thread, do you have a hypothesis in mind to use a frame of reference? apols if i have missed it. i haven't read it since it came out but oceans of sound by david toop touches on some of the things under discussion iirc.
 

version

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pure sine wave bass sounds are very womb like for me. the feeling of being cocooned is understandable, if you're hearing something through a wall the bass is going to be the main thing coming through, the higher pitches filtered out.

Rhythm & Sound have always felt very womb-like to me, particularly Imprint; it sounds like being enveloped by warmth and darkness and water.

 

luka

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it's about the body, it's about structuring experience with dualities. this or that?

it's about musical diction and what that self-imposed circumscription denotes socially (as opposed to aesthetically)

how these things change over time

how they are emblematic of time periods. how they change time. accelerate it for example.

how sound both describes and prescribes movements (dance and music and beyond)

how the body expresses itself (wittingly and unwittingly) through instruments (hand on drum, breath through horn etc)
how the body is revealed by the instrument in the way the rustling leaves give voice to the invisible wind

whatever you take this to mean
Within the infinite shadings of tension and release, will and surrender. The inbreath is a sucking at the nipple. Warm, enveloping, humid, close, hot colours, oranges, reds, CARNATION PINK. This is the erotic world of everlasting delight. Squirming, sliding, very lovely and lubricious. BOTH MEANINGS INTENDED.

Yet! When I asked them, who is the puppeteer who pulls the strings? Who is behind the RED VELVET CURTAIN? I arrived instantaneously in a White, bright, Nordic bath house, mind was very clear with the white steady flame of Intellect. THERE ARE OTHER WORLDS.

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the analogy or in my opinion more often the correlation between music and body language
how both reveal an attitude to self and world at large, how both reveal a specific metabolic rate and physical experience

how music can alter consciousness (deep medi)
and how this might be done

how drugs might interact with these things

how strong emotion might interact with these things
https://deepmeditationtherapy.blogspot.co.uk/
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16-03-2018, 08:29 PM #135 luka luka is online now
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mapping 'regions of experience' which is to say considering the entirety of human (inner) experience as a territory.

who has been where? and what reports have they returned with?

the future. the past.

theyre starting points really. just directions. trying to see what people are interested in. what bait they might nibble at.
 

luka

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This is unfinished business for the board. This is our main area of active inquiry so let's get back into it.
 

thirdform

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yes, a lot of idm is politically bourgeois as fuck, not all of it though.

What makes soul music special is not the notes you write down but the ability of the vocalist to sing between the notes between a certain given set of note parameters. E.G: the infinite arts core variations between C and D. this is where breakbeat science has a similar effect. in the sense that every chop was induced to invoke a response between the spaces. naturally djs being a barometer of technical excellence this all got written down, codified, photek told everyone how to do it and the play of music was lost. improvisation is the key to resisting bourgeois dictatorship (and fascism is not an abberation but just a particularly brutal form of bourgeois democracy.) there is a kind of feminin pressure that is also about social production of species for the labour market, the feminin pressure of excellent men and excellent women celebrities. beyonce.

this is also where i disagree with some people that the bukem sound killed jungle. well only in the sense of postmortem. jump up (as much as i rate some of the early 95-97 stuff) really set a template. it might sound cartoonish and pavlovian to some, but technical excellence does not denote aesthetic merit.
 
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