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Tenney was the first composer to give a real workout to the computer composition techniques that would dominate the computer music scene from the 60s through to the 90s and that are still widely used today. He did this during two and a half years at Bell Telephone Labs beginning 1961 working closely with Max Mathews, the inventor of the MUSIC series of programming environments.
The first of the pieces realised there, Noise Study, is surprisingly satisfying today for such an early experiment. It has the qualities of ocean or distant aircraft noise as heard through a tunnel getting nearer and farther, more and then less dynamic and complex. Very nicely judged and executed, the piece stands up well in the context of today's experimental music. Noise Study was entirely human composed and translated into sound by the computer functioning as an automated instrument reading a programmed score. But Tenny quickly set about extending the computer's involvement into the compositional process giving it the job of selecting some details of the music using random functions. These techniques closely parallel some of Xenakis' work on stochastic music. While Tenney hasn't achieved the fame or, in my opinion, quite the artistic success of the other, he did manage to produce some remarkable results. By devising ever more elaborate algorithms to take more control of the composition Tenney was able to surprise even himself with the resulting music; Dialogue, Phases and Fabric for Ché being the examples given in this collection, based on stochastic algorithm control of parametric noise/tone generators. Phases is a tense, mostly quiet alien conversation—music of such otherness that its like listening to people talking in Finnish but a hundred fold more baffling. Fabric for Ché is much louder, faster and more dynamic, making heavier use of noise. It manages to achieve some of the power and anger that Xenakis would show later in his works on the UPIC. What is striking is that Tenney, a newcomer to these computer technquies (as were all back then), managed to maintain aesthetic control of the automata he created. While the design of the systems was extremely abstract and technical the music is real music with a coherent personality and by no means merely an intererting experimental result. Other pieces in the collection include a player piano piece that is too random for me; the relatively famous For Ann (rising), a perceptual study using synchronised rising glissandi that is not to my taste at all; and Collage #1 ("Blue Suede") a delightful early tape manipulation piece entirely based on Evis Presley's song about his shoes. Reverential to the king and fully digging the groove of the source material it is not at all post-modern sounding. 
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- Michael Patrick Brady
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- Albums and Singles
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- Michael Patrick Brady
- Albums and Singles
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Most of the album has a subterranean or aquatic feeling to it, however. If the instruments aren't floating or weaving they're burrowing towards the warm center of the earth. "Hunted By a Freak" starts things out slowly and surely with a somewhat vocoded voice singing along unintelligibly in the background. The guitars have a bell-like effect to them and ring brightly throughout the track. The rhythm is tense and by the end of the song the mood has been set for an ecstatic experience. Though "Kids Will Be Skeletons" is an upbeat song (and a gorgeous one at that), the first heart-pounding, foot-stomping adventure is "Killing All the Flies." The vocoded voice of mystery makes its return on this one and sweetly caresses the air with the violins and the meandering guitars before everything erupts in a hail of triumph. Strangely enough, that's a great description for how a lot of this music feels. The melodies, though they sound lonely, also have a recovering feel to them; it's the sound of rising up and overcoming. "Ratts of the Capital" is the longest song on Happy Songs and it is the perfect release. I got shivers the first time I heard it and it just keeps sounding better and better. It makes me want to find a chainsaw and go on a rampage for some reason. Mogwai have found a great way of juxtaposing their noiser and heavier moments with their soft and and delicate ones. Overall I think this sets an example: a shotgun to the face doesn't need a ten minute introduction; it's powerful enough by itself.
samples:
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Womöglich sind sie gar die einzig wahren Androiden - Maschinensprachefür Maschinenmenschen. Das Publikum dankt Ihnen jeglichen Hauch vonRhythmus und Melodie ergeben, keimt doch dadurch die Hoffnung desEinzelnen zum elitären Zirkel dazuzugehören - zu verstehen worum es"wirklich" geht.
Softwareprogrammierer und Hi-Tech Frickler als die idealenÜberkonsumenten der Mediengesellschaft. Wichtig ist Ihnen nicht dasResultat sondern das Wie ? Keine Frage mehr nach dem Warum bzw. Wofürkristalliert sich heraus, wer will schon tiefer bohren wenn allein dasWie mehr als ausreichend Gesprächstoff bietet. Musikalischer Ausdruckals Abfallprodukt kreativen Programmierungswahns. Eine Sackgasse die AEmeiner Ansicht nach bis zum Ende gegangen sind.
Mein Verdacht bestätigte sich durch ein aktuelles Interview in dem SeanBooth tatsächlich erklärt das sie diesmal fast auschließlich mitProgrammen gearbeitet haben die sie beherrschen - im Gegentum zu denletzten beiden Alben die eher Testergebnisse der jeweils allerneustenPlug-In's waren und entmythisiert damit die als Manifeste derAbstraktion gefeierten Vorgänger gehörig.
Fortschritt durch Rückschritt ? Wer kann das schon noch beurteilen wennmehr Tonträger veröffentlicht werden als der einzelne je Zeit habenwird zu hören. Hat die dekonstruierte Abstraktion allerdings ausgedient? Autechre sind und bleiben dankbare Zielscheiben für die absurdestenTheorien - daran hat sich wieder einmal nichts geändert.
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