Album length – 53:28
Finished on 2005
Released on 2024-11-11
Released on Electron Emitter
The starting point of musical discovery, using the signature step sequencer of Fruity Loops 3.
Quirky and weird experiments with sounds, with no intent to tell anything at all. A fun activity for a five year old, having no other purpose than enjoying the endless ways to experiment with samples and composition.
The album develops the idea of engagement in music out of enjoyment, which turns the fun activity into something meaningful.
Part 1 out of 8 from Joy of Creation.
0. What Is This?
Joy of Creation is a retrospective analysis of the memories brought back, by listening to the music I created when I was 5 to 13 years old.
It‘s a journey throughout what the mind has learnt during this developmental period, until the start of Contradiction Sequence.
Therefore, it serves as a prequel to Contradiction Sequence, which is incomplete without it, since every attempt to finish it kept ending up in an error – questioning its own purpose.
The objective of Joy of Creation is to look into the subconscious memory. Including the ways I made music while taking notice of the conditions and the relations I was in during this developmental period.
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Half of the text is related to the music itself, its compositional structures, why did I compose things in the way I did and what was my relation to sound and its properties.
Unintentionally, as memories came back, another half went towards the conversation with the „identity of the reality” – a personification of how I perceived the world. This quickly regressed into barely conscious rants, losing track of which „me” was speaking, because I viewed myself and „everyone else” as two separate identities and projected my actions using that.
Comparing both halves shows that I used the same cognitive process to understand or „validate“ certain actions or behaviours in order to learn. And that my compositions were closely related to how I felt at the time.
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Another thing to note is that I understand music and its „inscriptions“ in a very specific manner, which may be uncommon or hard to grasp, since this has developed out of thin air and Fruity Loops 3 with no instructions.
Understanding music and the outside world uses the same process because both of them are conceptual – not spoken in a stream of binary „good and bad“ things.
Since it‘s not objective, you have nothing to feed logic with, that‘s why logic couldn‘t be used for development. Things can only be evaluated with your own like or dislike. Approve or disapprove. Positive or Negative.
Throughout the text, you may notice that sometimes I develop my own terms, or attach complex meanings towards said terms, in order to explain certain things in the way I understand them. „Inscriptions“ would be a good example. Most of them are explained, or self-explanatory.
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Joy of Creation is divided into 8 albums, each of them are dedicated to a certain time period and the idea that was being developed at the time. The tracks are not positioned in order of their creation, but sorted around the progression or regression of their ideas.
The memory fades and gets corrupted because it‘s being provoked back after 13 years, with the bias of the far more advanced Contradiction Sequence. The memories could be distorted, perceived differently, or the information within them could be disproven, rendering their ideas inferior.
Nothing that is written in Joy of Creation can be considered true or false, since there is no proof that it existed in the way it was written or perceived.
It has gone through several attempts to be deleted, discarded, burnt in a fire, and denied of ever existing. Everything that is written here is brought back from piles of garbage, or places I couldn‘t even check for remainders myself.
Recovered and restored, edited and produced to the best it could‘ve been – because it wasn‘t meant to be at all. The music may sound dirty and lacking clarity due to data corruption, multiple stages of lossy compression, distorted audio, lack of knowledge at the time and conditions in which it was created.
Therefore the memories may be corrupted by the process of trying to remove them and destruction of data that can provoke them.
An unknown amount of music is lost.
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Joy of Creation is a bit like a childhood diary that I never had.
Contradiction Sequence is an active psychoanalysis through music.
In between them stands the Initial State – conditions required to create the Observer that has initialized the creation of Contradiction Sequence, starting with the first album – Indefinable.
An Indefinable reason why do I like making sound do weird things.
1. Give Me a Sequencer
It was the introduction to Fruity Loops 3.
Faced with such an overwhelming upgrade compared to Dance Ejay, the creative process shifted from playing around as if it were a game, to a process of continuous discovery.
The discovery was dictated by the signature step sequencer on Fruity Loops 3 and the included samples.
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The first one to be explored was the structure of rhythm. It‘s clearly audible that I had no definitive understanding of what are the purposes of kick, snare, groove, syncopation, or anything you’d use to define the structure of rhythmic combinations.
I was playing around, figuring out things that seemed to work.
If it works or not, is dictated by my liking it or not, simple as that. If it‘s wacky and stupid by some outside standard, but I like it – I‘m not bothered, since there was no outside standard.
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Some fundamental things that later became my signature „sound“ are immediately apparent – the beat is syncopated, flowing and never a „4/4 banger“.
The kick is a low note in the beat, rather than a metronome. And the beat pattern doesn‘t always have to start with a kick.
Everything else usually accompanies the beat or goes alongside it, therefore the entire track revolves around its rhythmical structure.
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I was also seemingly differentiating high BPM tracks as fast. There isn‘t something necessarily in between, but it‘s either fast or not. Hence the titles including „Speed“.
My idea of speed was just turning up the BPM, instead of creating the perception of speed, so, my speed sounds like a broken truck engine instead.
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I don‘t remember if I discovered the amen beat by myself, or my brother showed me the popular pattern, or I heard it somewhere and attempted to remake it.
Anyway, it served as a go-to simple fundamental structure most of the time, but on its own, it got old very fast, so I tried to make it different by adding my own things on top or changing it.
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There was an immediate preference for weird things – samples or techniques that sounded the most interesting, rich, or unusual.
For instance – Track 10 „It Is“. Do you want more bass? How about you just stretch your track to twice the length instead of EQ? What the hell is EQ anyway. I wasn‘t even aware of what a filter does.
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Most of the tracks might not be very musical, because the understanding of „music“ revolved around rhythmical combinations, rather than having progressions, distinct and unique parts, or inscripted emotions that could explain why the track is made in such a way, or what‘s the idea behind it.
I found a wacky sample, let‘s make a track with it. Oh wait, I found more. And then I found some that fit those. Let‘s pile them into a track.
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This initial stage starts to end, when I notice that I like some things differently than others, being unable to quantitatively rank them by goodness on one linear scale, such as quality of production, amount of samples, compositional complexity, bla.
I absolutely adored some tracks, or specific combinations of samples, meaning I discovered music had something more than composition – something indescribably engaging – a feeling that there is more to it, than just a combination of sounds – a mystery to discover or experience, every each time.
What differentiates a combination of sounds and music?
What is Music?