'Post-Digital' Tendencies in Contemporary Computer Music

Although the following words essentially have no relation to my music, I feel it is important to place the music in some sort of context, ie the context in which it was conceived and recorded.

I have been reading the Wire of late. I am also halfway through Audio Culture: Readings in Modern Music, a fine book that features the essays of such leading lights as Brian Eno, Pauline Oliveros, John Cage, Edgard Varese, Theodore Adorno, Pierre Schaeffer, Anthony Braxton, Derek Bailey, Stockhausen and Richard D James (Aphex Twin) et al (a selection of titles gives you further insight: Acousmatics, The Politics of Listening, Ambient Music, The Liberation of Sound, Post-Rock, 'Post-Digital' Tendencies in Contemporary Computer Music (!), A Nihilist Theory of Improv). Reading these leads you to a more thoughtful headspace, perhaps too thoughtful. It has helped me to believe in the idea that the eradication of barriers is a freeing event. The purchase of so much new music and new equipment has enabled me to rid myself of the singer-songwriter position I previously held. What does that make me now? Nothing, really. Nothing. And that seems like a better position to hold.

And so it was in this heady atmosphere/headspace in which I began to think about where I wanted to aim for. By this I mean to say that I asked myself questions in order to narrow down (or, indeed, open up) my options. There is a middle ground that still feels unexplored to me. Not a mainstream middle ground but a space between the popular and the exploratory. This is perhaps best exemplified by Spring Heel Jack who have collaborated on their last four albums with the most prominent jazz/improv players. The loping, funereal chord progressions that create the structure and grounding for the soloists (Evan Parker on sax, William Parker on bass, Hans Bennink on kit, J Spaceman on guitar etc) to tear up and rip up and spike the atmosphere with their gut reactions to the moment. The element of accessible, beautiful chords and the chaotic cacophony ofthe Free style stuns me. It seems to say, 'I'm going out there but you can come too'. As terrible as that last sentence was and as far away from Spring Heel Jack's original intentions my conclusion was, this fact is inescapable: this idea of old and new is what has evolved music since its inception. I don't think I achieved my goals with this tape and again, that seems good to me. It will keep me pushing and pushing for many years to come.

To compose and record on one's own places several restraints upon the type of music being attempted. No group Improv moments are possible and to improvise with oneself provides mixed results. However, all these were not seen as barriers but merely tests to try and overcome. I think I overcame most of them although it must be said that I am not 100% happy with 100% of the music. Some of the lyrics have already been changed since recording. Some of the vocals are shaky (although i did overcome my fear of not doing everything in one take).

When we listen to music, what is it we like and as a consequence dislike? Essentially, we apply discriminatory tests on the music based on rhythm and tempo, harmony and melody, instrumentation, lyrics (or the absence of). We also must consider aesthetics. Because Kanye West is popular does that mean that his music is mainstream, or furthermore, made inaccessible to me because of its popularity? Of course not (although I'm sure for some, it does). His fusing of soul and gospel with heartfelt lyricism makes him stand out, although, of course, Ghostface was doing the same thing several years ago. These landmark recordings are what we live by and progress. And even though we may feel that Ryan Adams too obviously pilfered his record collection on his first two albums, it was his vision that made it all sound so beautiful. The same feeling that you get from a piece of art. The feeling that you are engaging with the vision and engaging with the artist. I'm sure (and this comment is not facetious) Britney Spears (substitute with whichever popular star of the moment) arouses the same feeling in her fans. When listening to A Love Supreme I don't necessarily feel the spirituality that Coltrane must have felt. However, his vision and the artist's headspace seems the important thing. Whatever Coltrane's intentions were, I 'get it' this end. The above may not make much sense and I guess its a difficult subject to discuss. The point I want to get accross is to let the music wash over you without the consideration that its coming from me.

There are samples in some of the pieces. They come from Gershwin's Porgy and Bess, John Coltrane's A Love Supreme, Messian's Quartet For The End Of Time and Spring Heel Jack's Track Four as well as a sample of a Spanish radio station. There are examples of writing 'pure' songs with experimental sounds, minimalism a la Phillip Glass, musique concrete, free Improv and unclassifiable pieces (perhaps). I can hear obvious influences of Can and Derek Bailey and Jeff Buckley and James Yorkston but I have always said that your entire environment influences everything you create, everything you listen to is an influence whether it is Jim O'Rourke, King Crimson, Missy Elliott, a conversation at work, a passing car radio, whatever...

The reason I have posted this is because I trust your judgment (if you have reached this far down), I admire your taste, I value your thoughts and opinions although I may disagree with them, I know there will be no bullshit where advice is concerned.

music, improv, jazz, Ryan Adams, Derek Bailey,
Kanye West