Blogiarhiiv

1/01/2019

Alan Morse Davies – The Morse Codex (2018)



  • Experimentalism 
  • Avant-garde 
  • Experimental electronica 
  • Crossover 
  • Plunderphonics 
  • Micronoise 
  • Musique concrète 
  • Contemporary classical 
  • Art music

Comment: I am not going to wish you a happy new year because no one would care of it, and secondly, the life is not going to change better and happier during the next 365 days. Some things may be better, some things will be worse. Most things are averagely mean. The same could be said about the music – in fact, I do not have belief in the mainstream music at all regarding also the music which is wrongly considered as indie music. The only hope by my side is related to music coming out from within the netlabels, Bandcamp, Archive.org, Jamendo, and Free Music Archive. European culture is declining due to being impotent to create something inspiring and refreshing and seminal. As impotent as one European leader used to be in 2018 who was not able to resolve problems within his country and got heavily punched by his own people. And of course, he did not feel any guilt but blamed the so-called populists for organising the riots. Europe's fate can only be saved by abandoning Christianity as a religion of the slaves. The Europeans should go back to their heathenish roots, directly to clear incantation, directly to the nature and God (however, a true Marxist considers himself/herself a god – he/she knows how the things must be set out). Most of good sonic things are related to the US-based underground scene but also Russian independent creators showcase their power with every new year more and more than before. And Asia's experimental scene is about to explode (especially in Indonesia). Today I am going to review an American creator, Alan Morse Davies whose 12-track issue The Morse Codex is an outstanding one by employing different strategies including the plunderphonic strategy by taking something from other musicians and building something new on them or mashing other authors' music or concrete sounds up. At times one can feel as if dialing a short wave radio. Furthermore, some shortwave-based things seem to be even more cryptic and mystical and thereby reminding a bit of The Conet Project's Numbers Stations. One part of this 12-track outing embraces uncanny yet overcoming noise symphonies and shifting sonic phases. In one song – indeed, the song with the lyrics – he takes a shot at artsy composing a la Robert Wyatt. One can discern the issue to be influenced by world music threads although the threads are warped and indirectly represented. In general, these minutes used to incorporate very different aspects and it is mostly because the release is a collection of tracks from the years 2016-2018. All in all, it is truly inspiring and providing a hefty sort of mental restart. It is a work and joy of non-genre as the artist likes to reckon. As most of his albums used to be this recent one is released on At The Sea.