"Imagine a machine where any material can be placed before you, and infinitely bent, squashed, stretched, rotated, inverted, repeated, depleted, converted, bastardised, beautified, mortified, twisted, shifted, and at no cost to the original material at hand. This original material, be it a piece of wood, or a piggy-bank, or a toaster, or a dog, can, at the whim of the operator, either be integrated into the mishmash of metamorphoses, or can sit from a distance and look on at all of his transformed clones. The digital sound editing environment, of all the achievements of computing, is the place where dreams can be given free rein. Any sound can be metamorphosed into any other. Anything can dance with anything else, in layer upon infinite layer, and the nature of the object itself can whirl and shift and change and play and do anything it bloody well wants to do. This is something I whiled away ten years playing with, until sound feels like a gelatinous gloop that can be formed between the hands. But then my fingers became sticky. And the only solution to sticky fingers, of course, is to clean them. Consequently the computer has became like a slightly removed acquaintance cum employee. And, for better or worse, every return I make to the digital music environment becomes overcome with theory, or at least, limitations. The collages included here as "Two Quartets" are explorations of the pure interaction of four different pieces of music, without any interference as to the nature of the sounds - nothing has been digitally manipulated. The focus is purely on editing - both of a technical-musical nature, and games of chance, throwing different materials together in space-and-time and seeing how they party." (Ergo Phizmiz) cover art by Ergo Phizmiz, white label, hand-stamped, limited one time pressing of 150 copies
in stock | UK| 2014| DISCREPANT | 16.90

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