mvuent

Void Dweller
I think it was from electronic music: a listener's guide by elliott schwartz. the edition I had was from like 1972 so not exactly comprehensive, but iirc I liked it a lot.
 
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mvuent

Void Dweller
first example

compare the vocal manipulation at 2:00-2:07

to 17:30-18:30:

as an example of electroacoustic exploring possibilities hinted at by hip hop and dance music. in both cases a short voice sample is "spammed" so much that you start to hear it (partially) as one texture rather than a series of discrete sounds. in the dilla one this only happens for a few seconds before he moves on--but parmegiani keeps going: the sound developes into a hurricane of constantly shifting voices. I think he even throws in a few jungle style time stretches around 18:20.


actually if you haven't listened to it at all, even if you mostly hate this stuff, please just listen to the entire section from ~16:30 to 18:30, its amazing. describing music as "dreamlike" is maybe cliche, but I think this part realizes the strange emotions that the word conveys in a way very little music does. the dawning realization that something is out of place, and then the sense of the world falling away and impossible transformations occurring.
 
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mvuent

Void Dweller
so they're essentially just making sample packs then. got it.

lol for the record this really was meant to encourage the initial talk. sorry if it sounded dismissive. could be elaborated further and connected with other stuff if or when there's interest.

the excitement of sudden negative space, of sound objects being pulled abruptly in and out of existence. motion that evokes not just a world but an agent (of some kind) violently manipulating reality. a lot of early hip hop uses it to really good effect.
 

mvuent

Void Dweller
RIP for now

for next time: is there anything I could do differently that would make threads like this more interesting and participation-friendly?

should have gone with a title that would have been more fun like "electroacoustic is academic bullshit". but I'm not enough of a writer to persuade someone on the fence that this stuff is more than a curiosity. just think it's interesting how this area of music is one where even the few people who like it never talk about it.
 

luka

Well-known member
Almost everybody here loves this music I think. I found it a bit intimIdating in as much as I felt you had preconceived notions of what the right answers were and that I had the wrong answers!
 

chava

Well-known member
any favorites in that regard?

mine's Eon.

As in Ian Loveday? That's a good choice. Some Baby Ford as well. Lots of american producers did and still sequences a bit strange/off grid. I still can't get my head around Rob Hood's first Movable Parts ep. I mean this is more in the choice of sounds/LFO use that makes the sequences come alive, so there's a fluid line between sounds and sequencing.

Terrence Dixon is an obvous example. Jamal Moss sometimes. Lots of now disregarded stuff around the heady early microhouse scene.

My favorite is perhaps Elin/Auto Repeat though perhaps a bit too much on the 'ironic' side for this forum.
 

mvuent

Void Dweller
Almost everybody here loves this music I think. I found it a bit intimIdating in as much as I felt you had preconceived notions of what the right answers were and that I had the wrong answers!

yeah I can see why. sorry about that.

I tend to assume you and everyone here are always about 20 steps ahead of me, and that that must be obvious to you as well. so I guess didn't occur to me at the start of the thread that pushing back in a flippant way could feel genuinely dismissive. I'm always very interested in what you have to say, even--especially--if my kneejerk reaction is that can't be completely right!
 

mvuent

Void Dweller
As in Ian Loveday? That's a good choice. Some Baby Ford as well. Lots of american producers did and still sequences a bit strange/off grid. I still can't get my head around Rob Hood's first Movable Parts ep. I mean this is more in the choice of sounds/LFO use that makes the sequences come alive, so there's a fluid line between sounds and sequencing.

Terrence Dixon is an obvous example. Jamal Moss sometimes. Lots of now disregarded stuff around the heady early microhouse scene.

My favorite is perhaps Elin/Auto Repeat though perhaps a bit too much on the 'ironic' side for this forum.

interesting, I'll be sure to check those producers out. guess I should be more patriotic (I mean it is the 4th) and listen to more producers from team USA.

and yeah the sound / sequencing connection is always interesting. very related to stuff in this thread as well.
 

luka

Well-known member
Im going to revive this thread. Sometimes I need to translate things into my own frame of reference before I can grasp the implications but im a huge believer in this thread
 

luka

Well-known member
Just don't let it get into boring music nerd stuff. Keep the fundamentals in the view screen.
 

mvuent

Void Dweller
My reading of the Prynne line is that imagination, like perception, does two things, has two modes. One is to witness. In this sense imaginAtion is astral travel. We use the body of light to travel to another place and explore it.


The second mode is when imagination becomes what it perceives. That to imagine a river is to become a river. To feel that specific quality of movement and integration, that speed, that flow.

There are places which, for one reason or another, seem barred, temporarily or permanently, to the imagination. When we try to astral travel there we find ourselves shut out, resisted. This can happen as we travel back in time for instance, in our own personal history, in the history of our society, world, universe. It can happen at certain scales, microscopic to vast. It can happen at the level of material process, The formation of molecules for instance. Some things we can imagine without much effort, rock formed out of layers of sediment, sands, dead plants and animals, others are more opaque and dense.

maybe relevant
 

luka

Well-known member
So how you approach this stuff I think is similar, in that, you know? What do you do? It doesn't behave like it's supposed to
 

luka

Well-known member
I think that we have expectations of the sentence and similarly we have expectations of the musical line
 

luka

Well-known member
Free improv has a lot of fun drawing our attention to expectations by subverting them, so a song might always be on the verge of falling off a cliff, or an indefinitely delayed pay off to some joke, or whatever. Things that show us how we are shunted around on the fairground ride of a song, and how we've internalised that
 
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