I downloaded, cheekily, vast amounts of the creel pone stuff, more or less at random a couple of years ago, enough that I still haven't digested it. I've found it really really good to take drugs to.
Two great tastes that go great together. With Creel Pone stuff, it's cannabis and good literature, maybe Burroughs or Iain Sinclair, with retro-future sound saturating the environment, and the demons recede for the evening.
Kind of in the same vein, where electronic music could still explore the transfinities of electro-acoustic space without the overcoding of "genre" and "scenes" (groupthink kills experimentation , everyone walks in a straight line), we have Tom Dissevelt and Kid Baltan, who were ironically supported by the Phillips multinational corporation:
We need more NatLabs. So what is this, corporate electro-acoustic? I don't know:
been trying to figure out also why (as per quote from bob ostertag) the fifties, sixties, seventies etc stuff sounds so strange and demented and like opening up new universes c.f. more recent decades of work in this vein doesn't sound as liberated or expansive
i think it's something to do with the switch to digital - bit like how CGI can be amazingly detailed and real-seeming but doesn't have the magic of analogue forms of special effects and animation that involve models, stop-motion, drawn cels, etc etc
it's not just that restriction is the mother of invention (it's not like people have got less inventive) it's more.... ontological maybe is the word or something like that. there is something fundamentally disenchanted about digital means.
I think you're right, but there's more to it. You get more freedom in a laboratory setting, be it academic or corporate, and of course when you don't have to worry about selling records, or working within categories or parameters, and you don't have to feel the pressure of audience expectations, you can just let loose. So you eliminate genre expectations, music scene expectations, audience expectations, free yourself from that weight and resistance, and you're free to explore as an artist. That's when the suppressed stuff, sounds we're not meant to hear, surface.
I wonder how the general Dissensus poster feels about Pitchfork. Personally, if I could get away with it, I'd murder every bastard associated with that soul-killing enterprise.