BREAK/FLOW versus DATACIDE

…once desire is specified as sexuality, it enters into forms of particularised power…
Felix Guattari

Libidinal Musics
Electronically composed sound, communally celebrated has the effect of some collective plateau phase. Music becomes a device, a prosthetics that leads to a hypersensitization – an overspill that establishes a field of flow between listeners. This incessant repetition with its controlled highs and lows, its deep grindings is nothing other than the continuation of erotics by other means, an erogenisation without object or delimited locale. The carefully placed touches of digitalised breaks, tips of searing reverb and the conducting of frequencies through skins plays the body to effect a libidinal response… to take us elsewhere. The desire for music is the desire for erotic communication as diffuse sensuality. [Read more →]

ALL WAS MUSIC. On Walter Marchetti.

Walter Marchetti on the cover of the CD "De musicorum infelicitate" (Alga Marghen, 2000)

Walter Marchetti on the cover of the CD “De musicorum infelicitate” (Alga Marghen, 2000)

“…naturally music had surrounded me ever since infancy as an unquestionable and indisputable element of life, but nothing had impelled me to distinguish it from the rest of my experience”

(Franz Kafka: Investigations Of A Dog)

1. Shadowing Conceptual Art and Fluxus, Walter Marchetti is perhaps one of those many involutionary figures who have stealthily stepped only at the edges of an institutional recognition. Having been at Darmstadt in the mid 50s and with John Cage during his 1959 sojourn in Italy, Marchetti embarked upon an exploration of music that began with composing for small acoustic ensembles in a way that, using space as a rhythm, allowed for a clash of timbres and an acoustic diffusion of sound to become prominent. The concert at the Rotunda del Pelligrini, where his music was played alongside that of Juan Hidalgo, John Cage, Morton Feldman and Leopoldo La Rosa, marks a brief moment of conjunction between [Read more →]

Submission Soundtracking

Electronica as a scene has coagulated primarily as a media concern – in that the media itself needed to bolster it’s role as both a guidebook for ‘innovation’ and a touchstone for transmitting the codes of each particular scene. However, electronica’s distinction is that it sometimes exists as a catch-all for everything else that isn’t drawn into one of the other dedicated genre scenes within the electronic and dance music milieu, fluctuating in that what departs from electronica is often transmogrified into its own micro-scene (cf post rock, Berlin minimalism,…) whilst the core of electronica itself can never be pinned to any particular rules of thumb regarding sounds, instrumentation, structure, etc. However, the compressing and packaging of electronica as a scene easily rivals its constructed polar opposites for it’s sheer predictability and softened ‘subversion’. In fact, the hyperconformism exhibited by sects such as the ‘crasher kids’ [Read more →]

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