In Vert's "Nine Types of Ambiguity" the noises have liberated themselves and no longer merely annoy; rather, they enhance the tonal body comprising melody, nostalgic evocations of disrupted beats and the ornament of clef symbols. Every noise is capable of being music, and all music is capable of being noise. It all depends on dramaturgical positioning. These dilapidated hover-trains made of mildly distorted harmonies, the ticker-licker Wall of Sound, Hacker-Jazz; but then there's reggae-style bottom-end from the deep, Hancock's wah-wah-funk and Brighton beach at dusk: People like Terry Reily and Steve Reich can put away their fishing rods. Finally, tonal-haiku with interference - there's always something disturbing you. From a cinematographic point of view: Compressed stories, micro-dramas, trips and travels.
in stock | DE| 2001| SONIG | 9.90

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