taste / oh yeah, i guess (2018)9:44
“taste / oh yeah, i guess” realizes a compositional style i’ve been pursuing for the past five years: that of an acousmatic music that communicates its message by reaching out to the seething world of audio recordings and pulling in those that say what i want to say - in words, and snatches of melody. The piece is a musical fanfiction, existing at a junction between realms, at a place pointed at by John Oswald’s “Plexure” and mashups like Cecil Otter and Swiss Andy’s Wugazi, infused, this time, with the ethos of what i call “acousmatic expressionism:” that combination of Montreal-school wooshbangery and urban soundscape-mancy that aims to flip cinema for the ears over into surreal territory no vision could, or perhaps would want to, map.I never bought the line that self-imposed restriction was the key to making great or good art. We inherit enough restrictions as it is — the laws of physics, the processing capacities of computers and ears and brains, the time and other resources afforded by our own respective economic conditions, etc — that understanding the full extent of the freedom one has to operate within constitutes a near-overwhelming task all on its own. In “taste / oh yeah, i guess,” I’ve taken my first steps into that freedom.
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Addorisio, Bergeron, Boudreau, Famiilirani, Feliz, Fillion, Fresnais, Ghafouri, Horrigan, Isherwood…28 tracks