totally dope, love the cello sound and just the general concept from reading the description.
The scratches and tippytaps are delicious and the effects are giving it just the right vibes.

totally dope, love the cello sound and just the general concept from reading the description. The scratches and tippytaps are delicious and the effects are giving it just the right vibes.

Hey thanks. Check out the Ferneyhough if you're after a wild ride.

Here's a doco about it: https://www.youtube.com/watch?v=sykB4znEk2Q

[quote=horatiuromantic]totally dope, love the cello sound and just the general concept from reading the description. The scratches and tippytaps are delicious and the effects are giving it just the right vibes. [/quote] Hey thanks. Check out the Ferneyhough if you're after a wild ride. Here's a doco about it: https://www.youtube.com/watch?v=sykB4znEk2Q

Oh wow, thanks for the reference. I see where you're coming from

I haven't found many artists to talk about this type of piece. When you break it down it seems to me that some of the magic of it goes away.

I once asked an incredible avantgarde drummer about his music after a concert and he said "No talk, just play" and I figured that was a pretty good answer.

PS The drummer was called Yasuhiro Yoshigaki if you're interested but I don't have any particular recordings of his, only saw him live

[quote=fc] Hey thanks. Check out the Ferneyhough if you're after a wild ride. Here's a doco about it: https://www.youtube.com/watch?v=sykB4znEk2Q [/quote] Oh wow, thanks for the reference. I see where you're coming from :) I haven't found many artists to talk about this type of piece. When you break it down it seems to me that some of the magic of it goes away. I once asked an incredible avantgarde drummer about his music after a concert and he said "No talk, just play" and I figured that was a pretty good answer. PS The drummer was called Yasuhiro Yoshigaki if you're interested but I don't have any particular recordings of his, only saw him live

Definitely worth checking out the piece itself rather than this little documentary thing. It's interesting what you say about breaking it down - I think I'm really starting to re-appreciate not breaking things down (my brain does to some extent anyway), and so much of the beauty and mystery around these hyper complex pieces (I'm really, really into Michael Finnissy at the moment) is the surplus of musico-structural information that can't be immediately decoded and so remains kind of magical.

I love that story about the drummer! Checking out his work on YT now.

[quote=horatiuromantic][quote=fc] Hey thanks. Check out the Ferneyhough if you're after a wild ride. Here's a doco about it: https://www.youtube.com/watch?v=sykB4znEk2Q [/quote] Oh wow, thanks for the reference. I see where you're coming from :) I haven't found many artists to talk about this type of piece. When you break it down it seems to me that some of the magic of it goes away. I once asked an incredible avantgarde drummer about his music after a concert and he said "No talk, just play" and I figured that was a pretty good answer. PS The drummer was called Yasuhiro Yoshigaki if you're interested but I don't have any particular recordings of his, only saw him live[/quote] Definitely worth checking out the piece itself rather than this little documentary thing. It's interesting what you say about breaking it down - I think I'm really starting to re-appreciate not breaking things down (my brain does to some extent anyway), and so much of the beauty and mystery around these hyper complex pieces (I'm really, really into Michael Finnissy at the moment) is the surplus of musico-structural information that can't be immediately decoded and so remains kind of magical. I love that story about the drummer! Checking out his work on YT now.

There's ways of breaking a piece down, some are about the notes and the techniques but others are about the emotions, and I think I got a glimpse of that in the docu. (I'll keep an eye out for the actual piece too)

And I think in avantgarde music (do we still call it that?) it's almost all about emotions because we strip away the structure as much as possible. There's still technique tho, it's amazing to hear someone with great technique just fuck around freely.

The main goal for me is to keep the end result seamless for the audience, so they still feel that it is effortless and natural whatever the musicians are doing. That's why I feel there is a fine line between random noise and transcendent beauty in avantgarde music, and it's hard to cross it as well as to anticipate it.

Yoshigaki managed to cross that fine line every time. Every group he played in at that festival (~4-5 concerts I think) somehow sounded beautiful and coherent, even though at the end of the day they still were mostly random improvised noises. I don't know what he did but his music was filled with emotion and storytelling and it connected with the audience and with the other musicians. When I tried to follow some of the other musicians he played with in their own constellations, this was not always the case, and I was kinda baffled because how can one figure out what to play and how to play it when it's all free and weird like that? And most weirdly, how can you bring that out in your bandmates?

There are others who succeeded as well but he stood out for me also because of his quote

Anyway thanks for the convo, I am glad to talk about this with you!

There's ways of breaking a piece down, some are about the notes and the techniques but others are about the emotions, and I think I got a glimpse of that in the docu. (I'll keep an eye out for the actual piece too) And I think in avantgarde music (do we still call it that?) it's almost all about emotions because we strip away the structure as much as possible. There's still technique tho, it's amazing to hear someone with great technique just fuck around freely. The main goal for me is to keep the end result seamless for the audience, so they still feel that it is effortless and natural whatever the musicians are doing. That's why I feel there is a fine line between random noise and transcendent beauty in avantgarde music, and it's hard to cross it as well as to anticipate it. Yoshigaki managed to cross that fine line every time. Every group he played in at that festival (~4-5 concerts I think) somehow sounded beautiful and coherent, even though at the end of the day they still were mostly random improvised noises. I don't know what he did but his music was filled with emotion and storytelling and it connected with the audience and with the other musicians. When I tried to follow some of the other musicians he played with in their own constellations, this was not always the case, and I was kinda baffled because how can one figure out what to play and how to play it when it's all free and weird like that? :D And most weirdly, how can you bring that out in your bandmates? There are others who succeeded as well but he stood out for me also because of his quote :) Anyway thanks for the convo, I am glad to talk about this with you!

really neat soundscape

[img]https://64.media.tumblr.com/acb970cf582980010c9148995a7afb01/tumblr_nefp61hjUg1rvlhwho1_500.gif[/img] really neat soundscape

This is superb. I love the organic feel of this track with the raw cello and the effects that you use in a really creative manner. Great track!

This is superb. I love the organic feel of this track with the raw cello and the effects that you use in a really creative manner. Great track!