As I mixed my ‘factory’ pianos with Conlon Nancarrow’s ancient Ampico player-piano (thanks again to Trimpin who obtained and shared it), I started to feel as though each instrument should occupy a different (virtual) physical space.
Like characters in separate rooms, speaking to, at, over, against, about, in spite of each other.
We move through a series of shadowy places, sometimes close, tight interiors then through warped thresholds to unreal open sky.
This music is an exercise in
- using the sound sources, themselves alone and in uncomfortable combination,
- in auditory credulity and credibility,
- in exploring the essence of ‘realism’ and the ‘realistic’,
- how virtual space can be created through delay, reverberation, texture
- . . . and retained (after lossy compression to stereo mp3) for headphone listening
- and in dramatising the wordless languages of musical dreams from which I often wake to sit staring at the dark.
At those apparently silent moments, music like this has its beginnings.
Please spend a few seconds to say what you see/ smell/ think of as you hear this:
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