Filed under: Music | Tags: a flow of code, anima mal nata, burningemptiness inc, d bene tleilax, empty, european zines, Minor Label, noise, reviews, rigodon, the tleilaxu music machine
The tleilaxu music machine-minor-CDR-machine sewn envelope: great!
I think we have to create a new genre: ‘stuttering glitch industrial’ where we could pigeonhole Groxyo and The Tleilaxu music machine. Saying his tracks are ultra-complicated anti-structured pieces of work gives just a remote idea of the hundreds ideas he puts in his little minutes tracks. Keep an eye on this.
From Rigodon #4 (March, 2006), a print zine from the Netherlands put out by Anima Mal Nata
What we have here? Sort of noisy break collage repetitive loop music. Quite a mouthful but it describes the music well. Runzelstirn & Gurgelstock on acid maybe gives a better understanding what to expect. Compared with R & G the Tleilaxu [!] Music Machine is less sophisticated. Sometimes the music gets really noisy and harsh. But they sure make good music. A release worth checking out.
Filed under: Albums, Theory | Tags: a flow of code, ambient, atmospheres, aural data, avant-garde, CDrs, complexity, d bene tleilax, DIY, experimental, feedback, industrial, layering, Minor Label, noise, non-physical environments, obscurity, processing information, realtime experience, rivers in space, rough sound, sound art, soundscapes, strangeness, stuttering glitch industrial, subtle moods, textures, the tleilaxu music machine, twistery, undefined possibilities
Available for free / set your own price.
1. All Hangs Together (rev)
2. The Pattern Dome (rev)
3. Fluid Solid Motion (rev)
4. Cognitive Dissonance (rev)
5. A Convergence (rev)
6. Experiential Information (rev)
7. Understand (rev)
8. Dislocation (rev)
9. Fear Stunts Progress (rev)
10. Esoteric Focus (rev)
11. Pixelated Reality Textures (rev)
12. Empirical Elimination (rev)
13. Consciousness After Death (rev)
“A Flow of Code” was originally released a million years ago, and is a collection of various experimental noise soundscapes I created between 2000 and 2003. After a couple of years, I decided to turn the entire album around and play it in reverse from the end of the last track to the beginning of the first. Brilliant, no? I found it created an entirely new atmosphere for the record and I quite enjoyed it.
The nature of these types of compositions lends itself to such twistery; indeed without my explanation, I doubt anybody would be the wiser. To me, the purpose of “noise” and “ambient” music is to create subtle mood shifts and a potential multiplicity of non-physical environments that the listener flows through as if being carried along by a river in space (or the not-so-subtle thrust down a rocky waterfall, as it may be). The experience of listening is more akin to being in a wide open world of as yet undefined possibilities and feelings, whereas the rigidly structured rhythms & tonalities of songs tend to bring the listener via a predefined route to a specific destination. Perhaps noise does this too, but the ride is at very least much stranger, the destination more obscure.
Additionally, the amount of aural data in noise compositions tends to be exponentially greater than otherwise repetitive songs, giving the attentive listener much more information to process and incorporate into their realtime experience of existence while listening. In this way I find it similar to nature–a complex textural layering of data upon data upon data, much of it never repeated exactly, only in infinite variations if at all.
The most appropriate way to take in this album (and others like it) is to relax, dip into a meditative state, close your eyes and see where it takes you…
The original version is available here :::
A Flow of Code was also released in Germany in 2003 as a limited edition CDr in a machine-sewn sleeve by noise / experimental DIY label Minor (catalog number MINOR009). Images from this release can be seen in the images section of the discogs.com release page.