A Phase music, as I define it, Is one in which tapes or loops of tape, are offset against one another, at a given interval, so that their complexes of content will ride apart from one another, and back into sync, over a period given by the offset; they are said to Phase, rather to go in and out of Phase. Over a short phase, the effect is predictable, over longer phases however, whist necessarily automatic, the result is, if the material is sufficiently complex, seemingly unpredictable. That is to say it can result in material, and musical, effects, greater, literally, than the sum of its parts. One must choose one’s material carefully, and off set to phase with even more caution. The trick is to play back and re-cut the phase, as many times as is necessary, until the result interests the ear, then as music. In that sense, you can be said to have composed it. In the Mechanical phase musics, you hear me develop this idea, new to me at least, with some sampled sound of a door slamming. The Scaffold for the completed piece, was [to me] so new and interesting, that it became a piece in itself. Hence in the Mechanical Phase music 1 & 2. With Door music, I am exploring my own maxim that ‘Music is sound Considerable as Time and Process.' Music is a notion of the intelligent audience / performer; Mozart, is after all, noise to a dog. I wanted a’ music’ of the physical environment, but not merely windchimes. I wanted to control chance, I wanted a hard industrial aesthetic, to understand that concrete notion of ‘Consideration of/as Time and Process’. Like The Elemental Art I left behind, I wanted to understand music, Elementally, but is there an Elemental music, or is the notion of music Elemental in itself ? I would find out.
Phase music would become a whole new discipline, or section, for me. Chronologically the fourth, after Dm, Drum music; Mpm - Metal Percussion music and Em - Electronic music. [MSEP - Music for Strings, electronics and Percussion being the 5th and last to emerge]. The ordering I would eventually impose put Em at the end, hence, Dm, Mpm, Phm, MSEP & Em, reflecting their perceived distance from the sound source. The first three [initially] employed sound source, more or less as it came, MSEP being Electro-acoustics, would introduce modifications; Electronic music, being reserved [initially] for those pieces that went so far beyond as to be unrecognisable. In the end it would all came down to the same thing, techniques shared about, boundaries blurred, in the search for a music, I most wanted to hear, a notion of a Contemporary Classical. Simply because, that is the world I have grown up in, in having that a the gold standard as a personal Cultural ambition, since a very early age. I Love Rock and pop, but have held no ambitions to them. On the outer edge of the Classical world, Stockhausen met the cosmic, or Kosmiche, and it met him [that is discovered him, I physically met him years later in London], and in this meeting, at 17, I met myself coming back. The Cosmic and the Classical, my entry point into that world . Infact, come to think of it, my musical future, was sealed in 1982, at 15, when I discovered Tangerine Dream and Mahler in the same week, by 17, I’d got Modernism.
Mechanical Phase music is the first album of this new discipline, Phm 1, the first of three albums of studies - paralleling the Drum music albums, and those of my Metal Percussion in having three albums of studies at their start.
released August 22, 2013
Julian Broadhurst Composition, Field recording, phasing and Mastering at Drum studio Phase lab 2OO6. Remastered at Isabel 2O13.
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