Album length – 1:31:42
Finished on 2006
Released on 2024-11-18
Released on Electron Emitter
An exploration trying to answer a curiosity driven question – what distinguishes a combination of sounds from music?
Why do we like certain tracks and why do we make them like that in the first place? Experiments with engagement in music, to find out why the enjoyment that comes from listening has nothing to do with the joy itself.
Throughout the album, it becomes apparent that it has something to say. It is a communication.
Part 2 out of 8 from Joy of Creation.
2. What Is Music
Upon discovering that some noises seem to be more engaging on a different scale than enjoyment, the creative process shifted from simple experiments with aural ideas, to creating different ways of engagement, using said aural ideas.
It happened both ways – sometimes I discovered a unique engagement by playing with sounds, or I discovered sick sonic ideas by playing with said engagement.
This means the tracks do not necessarily have to have engagement or information purposely composed into them, since the creative process flew subconsciously – I made things the way I like them.
The „liking certain things” is a dictation of what information your mind is trying to explain to itself.
That is why I found „inscripted” things in my previous tracks, regardless of whether or not I tried to put anything inside of them.
That‘s exactly why I liked certain tracks. And the inscription is clearly audible since it was pretty basic, as it was made by a six-year-old brain.
Joy of discovery. Intuitive process with your own conscious creative idea and subconscious reaction to the result of its technical manifestation in the reality.
Joy of Creation.
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The initial experiments with the engagement, were, of course, melodic, because I considered it to be feelings, however since I learnt composition on a sequencer, without any other knowledge of music, the results usually ended up being a sequenced melodic rhythmic composition.
I also noticed that specific key combinations produce a different effect of engagement. I haven‘t figured out harmony and I haven‘t figured out chords yet.
I figured that they produced a different effect of engagement. I used them to create a mood, including the choice of samples, rhythmical compositions, specific ways of experimentation, and basic musical parameters like speed and repetition.
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Music was like a language, that I learnt through time, although I never noticed getting more fluent at it. I was already manipulating basic musical parameters, alongside primal sound design ideas, to either try an aural idea or a mood – a different way of engagement.
The music doesn’t necessarily have a dramatic increase in content inside of it, but clearer ideas on what was being attempted aurally and engagement-wise, and how both of those are being held together by composition.
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I was able to imagine music for a mood or feel the mood when imagining a sound. How good I was at that, was determined by my ability to put that out into the computer.
My imagination was obsessed with physics, space, cosmos, planets – things I drew in my comics and read about in encyclopedias. I was driven by discovery.
What emotional engagement would you ascribe towards things like these? Mystery, adventure, grandiose universe stuff, figuring out the world?
That is also when I discovered that I really like reverb. My guess is that since my music was about space, planets, and other massive stuff. I ascribed reverb as an aural idea for engagement about things bigger than us.
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I wanted to talk about space and planets, the laws of physics, spaceships, and human settlements on planets. That’s why most of my music might’ve sounded somewhat similar, as this is how I imagined the engagement of said things aurally. If I started to talk about the universe – I didn‘t shut up.
Unless you didn‘t like it.
Which is what happened when I started going to school and introduced everyone to the noises that I made.