What is the one thing listeners need to know to 'get' this music? Overall: They probably need to listen specifically for the links between the instrumental sound and the ea (electroacoustic, that is digitally generated or manipulated) sound. For example, hear how Phil and Sandy often drastically change the wind (or noise) content of their sounds as part of their process of interacting with the ea; sometimes they minutely change pitch for the same purpose. Similarly, sometimes the interior of the piano, the strings and body, are used directly to create sounds that are intermediate between conventional piano sounds (of which we often have an image of purity and simplicity, in spite of their incredible complexity) and the ea sounds, such as to create interactions with it. Vice versa, the virtual drums and strings (computer-driven sampled sounds) are used to allow the computer performer (Greg in this case) to link up with acoustic sounds; while physical synthesis (virtual) digital piano sounds are used in several pieces, to allow tunings that would not be practical on a normal piano, and to provide a consistency of timbre that is unusual amongst real instruments. Listen to the piano sounds for variety when it moves between low and high or vice versa. In all pieces, one inspiration was the Dualling concept, interpreted in many different ways, but always present.
8:Assembly 2:47 (piano, drums) ISRC AU-K6P-23-00008 Now the piano leads a chase, joined by the drums, which digest the material, again resolving to a relatively simple synopsis of the preceding material.
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