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Looper's Delight
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Thank, William, for adding this informative text! I had a quick glance and noted that the good looking artwork implied something like this but I found no linear notes. Keeping this on my listening list for upcoming tome windows (isn't it exiting to live a modern life between eventually upcoming windows!!!). Good questions, Andy! They had been bouncing around my subconscious too but I was too lazy to dig in. Greetings from Sweden Per Boysen www.perboysen.com http://www.youtube.com/perboysen On Sat, Dec 24, 2011 at 11:01 AM, william middlemiss <billymiddlemiss@gmail.com> wrote: > Andy! Thanks for the compliment! > > To answer your questions: > > a) Well, because I couldnt find any other description! > > b) Because those are descriptions that invoke a tradition, a lineage > which > these ideas are part of. Classical because there are 12 tone elements, > phasing explorations, musique concrete, classical instrumentation in > parts. > Noise/sound ideas taken from Germany in the 50's where Stockhausen > worked, > and sound pieces drawn out in a similar fashion to Xenakis' UPIC > drawings. > Why modern? because some of my concepts are sprung from modern visual art > used in a musical context, and because the ideas I use do not belong to a > historical context in the context which I use them. Why avant garde? > because > I cannot find other examples of these ideas being used in this manner, > so I > have inadvertently become one of the first. My thinking was at some > points > as simple as: hey, what if I did a disc with 12 tone guitar, musique > concrete over drum grooves, and sprinkled in unorthodox instrumentation > and > electronic sounds.- That is what the "Musique Dubatronics" is. > > Abstracktion was me purposefully combining nontonal/oblique guitarisms > with > synthesizers and sound generations which were based around geometric > shapes. > > Holophonics was an experiment in a 'fractal composition' approach and a > composition formula which remained consistent at extreme timescales. > > And the Ambient record is electronic works with loopers and synths and > sequencers. Its the most 'traditional' of those works in terms of the > approach used to generate it, but it also is an intentional deviation > from > any discernible 'form.' > > The eclectic approach is simply because I could not find another way of > releasing the material Ive accumulated and categorizing it in any means > familiar with the average listener. > > So, everything is a little of this, a little of that, and in the end I > tried > to make everything as balanced and value-packed as possible. But, its > more > or less intended to be challenging music. Its also intended to be broken > up > among one's record collection and sprinkled about, as I am completely > aware > that most compilations in this manner are sometimes too challenging for > some > all at once. There's a certain density which appealed to me with these > 'outside' works, so I was hesitant to break any combination of them up > further.