The seed for this music was planted when I participated in one of Glenn Branca's 100-guitar symphonies. The sound was incredible: a deafening, electric choir incorporating so many voices that the each element was subsumed within the group sound. But I was struck even more by the unrealized potential in Branca's approach; the sound was separated into several identifiable voices,... (展开全部) The seed for this music was planted when I participated in one of Glenn Branca's 100-guitar symphonies. The sound was incredible: a deafening, electric choir incorporating so many voices that the each element was subsumed within the group sound. But I was struck even more by the unrealized potential in Branca's approach; the sound was separated into several identifiable voices, so that the impression given was of a conventional counterpoint-driven music. I wanted to make a particulate music that presented itself as a single mass of varying density, comprised of tens of thousands of individual events. Soon afterward, I began to immerse myself in the piano music of Charlemagne Palestine. I learned from him that when two notes share a particular frequency in their overtone series, that frequency can be made to sing out clearly -- a ghost tone, not played directly, but arising from the interactions among the directly played notes. I began to compose and improvise with this in mind -- I could sketch out desired pitches, and then arrange webs of lower pitches that coincided to produce those target pitches within their harmonic series. -- text by Joe Grimm
曲目 · · · · · ·
1 Brain Cloud IV (10:50) 2 Harpsichord (6:43) 3 Brain Cloud I (19:30) 4 Harpsichord (5:09) 5 Brain Cloud III (15:17)