one track exemplifies some of these things which i get from this (kind of) music at its best. This is not everyone’s tea I can appreciate and I think one reason I am so struck by it is that I hear similarites with some approaches to music making that i’ve had over the years, though with his best stuff, patten is a cut above.
through the stuttered doorway…
I’m struck by the doubleness (that there is a discontinuity / disjunct to the sounds, but also a layered, revealed depth level continuity) that helps give a whiff of the schizoic… of course the sound of the disjuncted (unbelongoing or turbulent presence) is never the deepest thing about the sense of the music, whose effectiveness is partly down to how much it is its own whole and maybe also a hole through which we might glimpse something past our own shuttered appropriations (in the form of ideas, the fixtures in our believing and perceiving etc).
A lot of the time with ‘high end’ music (for want of a better term) there is an unencumbering of the sonic space (‘Music is the space between the notes’ Debussy), the objective of minimising the proliferation of emplaced sounds, reduction to empower a resonant simplicity of the sounds in their distribution together.
This is music with a comported strategy, like an ambient dance music which includes apparitions of struggle amid what might appear at any point as ill-fiting and out of time and can present as simply too much. But for me – this is crucial to its great move, a jump from the populated to de-populated sense of something shining in the gaps…
but here, the voice most priominent in the song is itself drowned, compacted and honed out – left with removed presence. A tonality and rhythm of the voice-sonic, stripped out but palpably now also consisting of some kind of compounded tone, pitch tampered /tempered in range and perhaps suggestive of the female (if not in itself gender-determinable)?
However, it is not the specificty that necessarily marked out early glitch, the sound catching, leaping into mystery of where in a pre-esablished but short circuited tone-space it might land, creating new consistencies and refrains from continuity breaks, fast-wiring of the expectation gland. But I’m reminded how necessary it was for the digital to break down, for us to hear the warp and weft of electronic music’s capacity to be wilfully mutated in its own response to being forced (to jump, to degrade, to repeat, to click, to glitch).