First unconsciously, then more and more aware came up to me that I worked on the field of the autobiography. Thus I can only retrospectively speak about the time that led me to this concept. This happened about 1962, while I worked on the project of an electroacoustic piece: Hétérozygote. I thus want to try to explain, how significant the simple gesture was to go out from the studio searching sounds outside. I went out with portable utensils, which were my property, i.e. with my microphones and my tape recorder. This was my equipment, and it was I. Whether one wants or not, I was here in an original situation of presence and instrumental recognition making of me without being conscious, a manufacturer of the autobiography. I was present, I held my microphone, I put on my tape recorder as soon as I considered it was good, I took the sound that occurred front of me at the time I decided. This sound was my choice, my moment of the life stored on my equipment. Luc Ferrari
1 All India Radio-Black Satin 3:47
2 Forrest Fang-Little Angklung 8:21
3 Timeless Pulse Quartet-Light 9:51
4 Robin Guthrie-Harold Budd-Hidden Message 4:48
5 Pete Namlook and Dr. Atmo-Faith 11:26
6 The American Dollar Band-Oil And Water 2:58
7 Siram-Atma 6:49
8 Nadja-Clinging To The Edge Of The Sky 16:21
9 Kamelmauz-Pair Of Keys 7:11
The “meta-genre” of electronica is subject to the most severe parsing of descriptive labels of any genre of music. These labels, nevertheless, likely strike close listeners as being under-determined. There are two reasons this is so; that these labels often overlap in unenlightening ways, and, that most such labels capture extremely disparate styles. There’s no way, for example, noise or ambient constitute meaningful descriptions for both of these reasons, all at once. The workaround is to combine labels in ways sensible and ridiculous.
One label does extra duty, experimental. It’s a catch-all. It’s a catch-all when extended to any broad genre of music. Pounding through envelopes is one my central sonic interests. When DJ Weirton brought to my attention iLbient music from Ft. Green (on the Wordsound label) I dug both the newness of the terrain and relations I was long familiar with as an enthusiastic lover of Jamaican dub. When Chris PlusPlus turned me onto guitar noise like Double Leopards I got it right off because I was familiar with Sonny Sharrock and Caspar Brotzman and the like. I dug Coil because their music seemed an off-ramp from Musica Electronica Viva, Terry Riley and Arthur Russell. Likewise most dronology comes to me as variations on the seminal soundworlds of LaMonte Young, and Pauline Oliveros, and The Deep Listening Band. The iconic experiment for me is Edgard Varèse‘s Déserts.
This newest Dub Collision mix ropes in a bunch of very diverse experiments. Each one is different. There’s a lot of heavy processing and deep process involved. I’ve tacked on an unfinished track of my own, (via the guise Kamelmauz,) Pair of Keys. More works-in-progress by Kamelmauz are on-site.
I’ll be posting soon about Aidan Baker/Nadja, whose track Clinging To The Edge Of The Sky, provided the title of the mix. His ritual guitar experiments have completely captured me. Here’s a taste: