We are generally intolerant of things we don’t understand. And as musicians, we love to taunt and tame the limits of modern music consumers. Targeting the unreasonably short fuse is a viable place to start.
We pervert sound, we make the unfashionable listenable. We suggest that anything that was formerly listenable is still exercisable as an option.
Quick wits challenge slow tempers. I have actually sat in many movie theatres and concert halls, loving to watch people squirm. I find this really interesting.
One critic of my release, “Paris: A Musical Overpass,” kept using the word insistent to describe what she heard in common to this and to “3 Mains” – she was trying to be kind, God bless her.
We listen, and even make ourselves aware, as musical phrases emerge and repeat, that we as listeners continue to evolve over that same span of time, regardless of what we think the sound is accomplishing for us. We are, in fact, finishing an unfinished work.
We like the breakdown in the singularity of meaning, for the art-object. People are no longer designing finished works, and we are no longer consumers of finished work. Artists are creating unfinished ones – to be remixed and restructured in a dialogue that includes others, and elements of chance.