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Looper's Delight
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I second that devotion.
people often ask my band (especially in interviews) about the superficial similarity between us & a certain period in tangerine dream's history, "& yet there's something different.... somehow your music is more emotionally revealing...." sort of thing.
I usually explain that we use the same sort of sonic vocabulary (synths, analogue sequencing, lead guitar, loops, the mighty mellotron....) but that we approach composition in a different way.
in fact, TD claimed to improvise a lot of their material too, but there are two significant differences that prevent them (in my view) engaging the listeners' attention in the way I'm told my band does:
they were forced by the technology of the time to do a lot of overdubbing, thus reducing the spontanaeity somewhat,
they did not spend much/any quality time together away from the studio/stage.
'pon this latter- if my band spends an evening getting trashed in the pub, it's as useful to us as a rehearsal.
so a different version of the same response is to switch the instruments- take away the analogue sequencers, the synths & the mellotron, & replace them with guitars, bass, drums. would we sound quite so similar then? no, we'd be different in the same way that not all guitar bands sound like the beatles.
the social interaction in my band allows us to work together & truly improvise- we often go onstage with no idea at all what we're going to do- while still managing to incorporate the all-important narrative thread.
without this, the noise would be pointless noodling, & of interest only to the hardware enthusiasts......
we've all of us been to see movies that have had many thousands of dollars spent on effects- all manner of CGI eye candy.... but if there's no story, what's the point?
to some degree, all art forms can ignore this narrative thread business, but only if they can substitute something equally engaging. too often there's an assumption that, because a particular form has gained acceptance on the basis of stylistic innovation, this acceptance will be inherited by copyists of that innovation.
there are places where fripp's two-revoxes-&-a-les-paul work is unknown, & I could get away with knocking out a perfunctory set (as he has been known to do himself) which would succeed purely on novelty value. but if I did the same in front of the list, you'd all ask what exactly I was bringing to the party.
um.... am I making sense?
duncan/radio massacre international
>>Per, you are my hero.
--- Per Boysen <per@boysen.se> wrote:
>
> To be a bit more general I must say that I like
> listening to music
> that appears to lack melodic elements. But I don't
> like listening to
> music that have no direction, no question and answer
> dialogue, no
> tension building up and no letting go of tension. I
> like to think
> that the difference between music and noise is that
> music does imply
> directions in movement, which noise doesn't. I like
> listening to
> noise as well, BTW. But I find it very difficult to
> play noise, there
> is always a melodic element creeping in to it. So,
> to use that flavor
> you have to call in the machines. Does that make me
> a beep' n blooper?
>
> Greetings from Sweden
>
> Per Boysen
> www.looproom.com (international)
> www.boysen.se (Swedish)
> ---> iTunes Music Store (digital)
> www.cdbaby.com/perboysen
>
>
>
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