There's a quick / cute review of the album here for ya.
So, I contributed a track to the Soft Bodies' cool little Soft Bodies Eat Bees compilation, along with folks like my old friend April Larson. Mine is more of an odd little electronics piece rather than Alt.Pop. I should maybe do more like these, they're fun to do and sound like, I dunno, imaginary landscapes or something when they do come out okay. But maybe I should do some off-kilter Alt.Pop too.
There's a quick / cute review of the album here for ya.
This may be my favorite piece by Feldman so far - (though I may have to toss a coin to decide) - and his only piece for organ, I believe.
Eerie / pulsing; abrupt / curt; floating / shining; dissonant / abrasive: it moves between moods, scenes, vignettes rapidly (though Time often seems to elongate or get displaced: a common occurrence in Feldman's pieces, particularly the loooong, later ones...).
At points, it reminds me of a softer, Flattened-Affect analogue of Sun Blindness Music (Cale's one-chord 45-minute strategy reduced to 8-second streamers of sunlight, softened / buffed-down into smooth velvet rivulets, shorn of malevolence, from a stark, rayban-wearing premonition of "Sister Ray"); elsewhere, it invokes 19th Century English Organ music or La Monte Young's high-tension wire tones... incredibly, restlessly Postmodern - the piece seems to flick through an imaginary 'catalogue' of pitch intervals and tone combinations, hinting at a potentially infinite number of possible variations, a universe of endless variety, yet the piece never feels rushed or cramped. It shifts from something that feels incredibly forward-thinking, almost impossibly hypermodern, to suddenly sounding archaic, wooden-panelled: notes hovering in dead, dust-filled air - the brief, dank chill of cold autumn pews - spiritual mildew - then back to something gleaming and mathematically intuitive.
Note sequences draw slow circles in the air; the bucket-seats of a Big Wheel materialise in the sky, one at a time, conjured up by musical stop-animation; the notes seem to arc clockwise through my head, trace slow orbits... a minute hand moving a notch at a time round a clock-face while the music ebbs n flows, slides outside of linearity.
Fingers climb stairways of sound. Helical sun-devils, musical lensflare.
Dark chords. Grey chords. Mishapen intervals. Ragged elegance. Vibrating columns of air; tubes - each one a note - racing one another, meeting, colliding, pulsing in and out of time / sync / phase, back and forth: vibrational litanies. Tones throb, ache, chime, grind, glide, hover, overlap, collapse.
Was having a bad morning yesterday -- manflu-lagged, lack of sleep, etc -- but this improved it considerably:
Big thanks to the folks at FREQ magazine for their review of "SPILAGGGES" by UNRULY MILK (Joe Thompson from Hey Colossus, myself and some other local irregulars)
The album was due out in Mid-Sept - well, that was the plan - but there was a fire in the shop next to Black Cat (our label) - no one hurt, thankfully, but it caused some serious disruption to their business; then Stef went to Italy and Phil went into hospital - so, best laid plans 'n' all that ...
Anyways, it's not far off now. Any day now! There are some minor issues with manufacturing the CDs - which're being sorted - and the artwork / covers / inserts have been prototype-assembled
Using trainable Deep-learning systems to create scary faces and places...
"One of the early, influential algorithms is the college-ranking model from U.S. News & World Report. In fact, it’s been so influential, the role of many college administrators has gradually changed from improving academics to improving their college’s ranking, whatever the cost. And since the U.S. News model doesn’t track cost, the more the model is gamed, the more expensive colleges become. Over time the widespread gaming has led to outrageous tuitions, bloated administrations, and the death of the safety school, since high rejection rates are bad for rankings. The pool of high school kids hasn’t changed, but the system is in an arms race of prestige.
"More recent big data college algorithms work on an individual student basis. Inside the college, admissions offices use algorithms that weigh each student on likelihood of acceptance and financial aid requirements. Outside the college, professional consultants charge parents more than $25,000 to help their child get an offer from, say, NYU based on predictive algorithms. Again, an expensive arms race, and the victims are the lower- and middle-class students who cannot afford either college or the college-admissions process."
I LOVE this. Starts off with a def. Feldman-esque vibe, then shifts to Cecil Taylor mode, but with some wonderfully abrupt tonalities. Dreams of springs, coils, pianowire strings. Visions of a pluralistic, afrofutural parallel-world 1958.
Lots of jibber-jabber floating around recently from blue-jean billionaire idiots like Elon Musk and their zealot-acolytes that The Universe is a GERT BIG SIMULATION being run by some technologically-advanced Something-or-Other. You may have seen some cobblers about this on yr favourite tabloid website: my favorite had a headline along the lines of: "SOME SMART PEOPLE THINK THE UNIVERSE IS A SIMULATION."
(Substitute the word SMART for RICH, is my suggestion)
Still, it's easy to see why this line of thinking appeals to the Silicon Valley Super-Rich: 'cos if Nothing is Real (Cue: John Lennon's voice) -- that this is just some sort of quantum-code simulation of Reality -- then it absolves you of any social responsibility in the Now.
Still this fella thinks there's some serious mileage in the idea:
"Observable consequences of the hypothesis that the observed universe is a numerical simulation performed on a cubic space-time lattice or grid are explored. The simulation scenario is first motivated by extrapolating current trends in computational resource requirements for lattice QCD into the future. Using the historical development of lattice gauge theory technology as a guide, we assume that our universe is an early numerical simulation with unimproved Wilson fermion discretization and investigate potentially-observable consequences. Among the observables that are considered are the muon g-2 and the current differences between determinations of alpha, but the most stringent bound on the inverse lattice spacing of the universe, b^(-1) >~ 10^(11) GeV, is derived from the high-energy cut off of the cosmic ray spectrum. The numerical simulation scenario could reveal itself in the distributions of the highest energy cosmic rays exhibiting a degree of rotational symmetry breaking that reflects the structure of the underlying lattice."
The Matrix has got a lot to answer for.