- 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.
