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█ p r e s e n t s f o r y o u r e a r s █
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VA - Deepnet
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r i p p i n g n o t e s . . . . . . . ▀
date Mar-27-2003
style Ambient
label Side Effects
cat.no. DFX 19
source CDDA
type Album
quality 192kbps 44,1hz Joint-Stereo
size 199,2 MB
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r e l e a s e n o t e s . . . . . . . ▀
As each form of popular music devolves and dissolves into countless
permutations of what has gone before, it is self-evident there is a
very real need to continuously diversify in order to forge an ever
new vocabulary of sound, and to widen each new horizon.
Over the last two decades terms such as "industrial" and "ambient"
amongst many others have been applied to an ever increasing and ever
more bewildering array of musicians, creating the illusion of a
coherent and unified musical movement, while their only true
connection has been that, at one stage or another an observer
considered their work challenging or different, - based on limited
experience or reference.
Such terms are merely convenient labels, and quickly become quite
meaningless when applied to any and every music that has even the
slightest variation on the standard structure of popular music.
It is appropriate to attribute the actual origin of modern sonic
experimentation to the writing of the Futurist manifesto "The Art of
Noises" by Luigi Russolo on March 11 1913, in which he proposed that:
"we break out of this limited circle of sounds and conquer the
infinite variety of noise-sounds".
His suggestion that music embrace all form of sound, from that of
nature to that of a modern industrial society, with sirens and metal
scraping, of dishes breaking or even the sounds of warfare, was
considered to audacious by many.
In the same year Russolo wrote "Awaking of a City". The best known
and most influential Futurist anti-music, this work, along with that
of his collaborator Filippo Tommaso Marinetti evolved into the
"machine music" of the nineteen twenties, from which was born the
true twentieth century music, with it's manipulation of pure sound
and the use of synthetic sound shaping processes, both of which were
impossible before the advent of electronics.
While the likes of Stravinsky's re-evaluation made significant
changes to the evolution of classical music, and the avant-garde
where wholeheartedly embracing modern technology, there was very
little impact outside the exclusive and comfortable circles of
intellectuals and academics.
It wasn't until the late nineteen-sixties that the promise of a new
music began to take popular hold, when a new breed of musician was
evolving, born out of the post war generation with it's thirst for
the new.
From backgrounds as diverse as rock, jazz and classical, they where
not afraid to break from the past and adopt the new electronic
instrumentation, and used them to fashion their own musical heritage.
The possibilities then hinted at, have been broadened even further
with computer assisted sound manipulation and the use of the studio
itself as an instrument.
Those who embrace these and other possibilities are united in a quest
to forge the new, as opposed to reconstructing the past, to
independently evolve their own sonic language founded on a
rapprochement between avant-garde aesthetics, radical politics, and
popular culture.
It seems inevitable that individuals with integrity are the only ones
willing and able to pursue their own vision, whatever the outcome.
Here are represented such individuals, who are at very heart of a
true alternative to the mundane, a worldwide deep network of friends,
allies and co-conspirators, who are both directly and indirectly
influential on a more overtly commercial underground scene.
These lone voices, united within common goals and means, should not
be confused with any scene or movement. These are the voices of the
individual.
Brian Williams February 1996
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p l a y l i s t . . . . . . . . . . . ▀
CD1
01 Robert Rich - bioelectrical plasma 16:41
02 Lustmord - deep calls to deep 15:42
03 Coma Virus - de umbris idearum 15:08
04 Psychophysicist - cymantic wave therapy 07:34
05 TAGC - white sands 07:58
06 Monte Cazazza - extinction part-1 10:32
CD2
01 Atom Heart - timeslice 15:04
02 CTI - le genou (aux gouts speciaux) 12:20
03 TAGC - the invader 10:50
04 Octopus - giving up skenge (macrodub) 18:56
05 Psychophysicist - psience 08:11
06 Monte Cazazza - extinction part-2 05:59
(terror against terror deconstruct)
. .
144:55 min
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t h e p u r p o s e o f i t a l l . . ▀
digaphobia public sound specializes in releasing so-called
'intelligent dance music', experimental electronic music, dark
ambient, drone/noise, beat-laden indie, and a spot of techno.
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t h e h e a d s . . . . . . . . . . . ▀
peace to music lovers everywhere
1real agw amok chr cmg cms diss fuffens hit2k its just kw mgc
ms nuhs om pulsar pyt rac radial sb sfe sour tr tronik ube wos
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j o i n t h e a r m y . . . . . . . . ▀
looking for MD/DAT recordings of electronic music shows
track us down on IRC if you'd like to help
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a l w a y s r e m e m b e r . . . . . ▀
go to the show. buy the t-shirt. order the vinyl.
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