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dum dum SCORE believe that music and art should reflect modernity , the freneticism of life, and the total state of mind.
In order to mirror the absurd, the incoherent, and the chaos, energy and noise of our world , the methods employed to express these experiences have to be similarly dissonant, disjointed and fragmentary.
Much of 'modern' main stream music is surely simple 'rhetoric music', designed specifically for the lazy listener generation 'blended' and digitally crushed so that individual parts and meaning become impossible to decipher. Life and consciousness involve the senses interacting with many different things at once , surely music should be like this as well or at least interesting music should be.
The dds pieces place the mind in a constant state of examination and analysis of the detail. It is NOT music for the 'consumer public'.
Edgard Varèse thought that "to stubbornly conditioned ears, anything new in music has always been called noise", and he posed the question, "what is music but organised noises?''
dum dum SCORE outrightly reject the idea that music should always be controlled by fixed pulses, as they do not manifest in the natural world and yet stubbornly remain the one immovable element to all genres of music. Instead their musical pieces often expand and contract in the flux of 'conversational time', and even when pulse is present, it doesn't automatically magnetise it's orbital and interweaved conversations to any one fixed location as they remain free to come and go as they please.
Abstract and free style, with an emphasis on the ‘now’ moment rather than a linear ’structured’ style, there is no traditional musical ‘journey’ either the past - or anticipation of the future. That is not to say that pulse does not have any place, as pulse is used when it is deemed neccessary.The music is purely experimental , unswayed by any current fashion. It is 'off axis' , 'out of kilter' , ethereal , and a kaleidoscopic twist of the ordinary.
appreciating music involves memorising patterns , and as the psychological impact of music can't be expressed fully in a series of rigid patterns , Traditional ' 'song 'structures are obliterated during self made processes and the resulting genre of 'JAR' .
Who will deliver our minds from the heavy chains of logic ?' - Gide
In order to mirror the absurd, the incoherent, and the chaos, energy and noise of our world , the methods employed to express these experiences have to be similarly dissonant, disjointed and fragmentary.
Much of 'modern' main stream music is surely simple 'rhetoric music', designed specifically for the lazy listener generation 'blended' and digitally crushed so that individual parts and meaning become impossible to decipher. Life and consciousness involve the senses interacting with many different things at once , surely music should be like this as well or at least interesting music should be.
The dds pieces place the mind in a constant state of examination and analysis of the detail. It is NOT music for the 'consumer public'.
Edgard Varèse thought that "to stubbornly conditioned ears, anything new in music has always been called noise", and he posed the question, "what is music but organised noises?''
dum dum SCORE outrightly reject the idea that music should always be controlled by fixed pulses, as they do not manifest in the natural world and yet stubbornly remain the one immovable element to all genres of music. Instead their musical pieces often expand and contract in the flux of 'conversational time', and even when pulse is present, it doesn't automatically magnetise it's orbital and interweaved conversations to any one fixed location as they remain free to come and go as they please.
Abstract and free style, with an emphasis on the ‘now’ moment rather than a linear ’structured’ style, there is no traditional musical ‘journey’ either the past - or anticipation of the future. That is not to say that pulse does not have any place, as pulse is used when it is deemed neccessary.The music is purely experimental , unswayed by any current fashion. It is 'off axis' , 'out of kilter' , ethereal , and a kaleidoscopic twist of the ordinary.
appreciating music involves memorising patterns , and as the psychological impact of music can't be expressed fully in a series of rigid patterns , Traditional ' 'song 'structures are obliterated during self made processes and the resulting genre of 'JAR' .
Who will deliver our minds from the heavy chains of logic ?' - Gide