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"Texturizer"
Antifrost
The world of drones is necessarily deceptive. The successful drone isalways an illusion—you wind up being drawn into a special perceptualstate that I call the zone,believing that you're listening to a complex world of fractionaldetail, motion, drama and beauty while it's perfectly obvious to thecasual observer outside the zone that it's just a bunch of tones, quitepossibly rather unpleasant ones. The conjuror illusionist's skills canbe explained, understood and taught but the inner workings of theconvincing drone illusion are, to me at least, very mysterious. Thesame mystery is at the heart of minimalism—it's unbelievably easy to bea minimalist but very few have made good minimalist art and I doubtthat anyone can explain the key ingredient. This is my excuse for notbeing sure what it is that doesn't quite work about Texturizer.Everything is lovely in theory, Coti K. provides slow mellow electronictones and noises and Nikos Veliotis plays bowed harmonics and othercello sounds on top of that. But somehow it doesn't quite gel anddoesn't get me into the zone. The electronic part itself is hard tofault; it has nicely unstable resonances that sound like they mightcome from feedback loops fed with ambient sounds, perhaps street noise.The cello part is perhaps the issue. My all time favorite musicalinstrument is the cello and I love what its overtones can do but here Idon't get the sense of a cohesive effect playing. Live improvised droneplaying (I presume is what's happening here) involves a generativeprocess of discovering the perfect sonority and then working it,holding it, keeping it and moving it around. There should be a balancebetween the freedom of the autonomous discovered sound to behave underits own volition and the control of the musician. Too much control andall we hear is the performer, too little and the sound's lack ofintrinsic aesthetics will show through. Veliotis is tending to theformer. It's as though he never quite finds his perfect sonority,passing over several good opportunities and dwelling on inadequate oneson a trajectory of his own that also fails to make sense as a celloimprovisation. As wallpaper Texturizer is entirely functional—areally rather enjoyable and unimposing accompaniment to ones work. Butclose listening reveals the absence of illusion. Antifrost
The world of drones is necessarily deceptive. The successful drone isalways an illusion—you wind up being drawn into a special perceptualstate that I call the zone,believing that you're listening to a complex world of fractionaldetail, motion, drama and beauty while it's perfectly obvious to thecasual observer outside the zone that it's just a bunch of tones, quitepossibly rather unpleasant ones. The conjuror illusionist's skills canbe explained, understood and taught but the inner workings of theconvincing drone illusion are, to me at least, very mysterious. Thesame mystery is at the heart of minimalism—it's unbelievably easy to bea minimalist but very few have made good minimalist art and I doubtthat anyone can explain the key ingredient. This is my excuse for notbeing sure what it is that doesn't quite work about Texturizer.Everything is lovely in theory, Coti K. provides slow mellow electronictones and noises and Nikos Veliotis plays bowed harmonics and othercello sounds on top of that. But somehow it doesn't quite gel anddoesn't get me into the zone. The electronic part itself is hard tofault; it has nicely unstable resonances that sound like they mightcome from feedback loops fed with ambient sounds, perhaps street noise.The cello part is perhaps the issue. My all time favorite musicalinstrument is the cello and I love what its overtones can do but here Idon't get the sense of a cohesive effect playing. Live improvised droneplaying (I presume is what's happening here) involves a generativeprocess of discovering the perfect sonority and then working it,holding it, keeping it and moving it around. There should be a balancebetween the freedom of the autonomous discovered sound to behave underits own volition and the control of the musician. Too much control andall we hear is the performer, too little and the sound's lack ofintrinsic aesthetics will show through. Veliotis is tending to theformer. It's as though he never quite finds his perfect sonority,passing over several good opportunities and dwelling on inadequate oneson a trajectory of his own that also fails to make sense as a celloimprovisation. As wallpaper Texturizer is entirely functional—areally rather enjoyable and unimposing accompaniment to ones work. Butclose listening reveals the absence of illusion.
The world of drones is necessarily deceptive. The successful drone isalways an illusion—you wind up being drawn into a special perceptualstate that I call the zone,believing that you're listening to a complex world of fractionaldetail, motion, drama and beauty while it's perfectly obvious to thecasual observer outside the zone that it's just a bunch of tones, quitepossibly rather unpleasant ones. The conjuror illusionist's skills canbe explained, understood and taught but the inner workings of theconvincing drone illusion are, to me at least, very mysterious. Thesame mystery is at the heart of minimalism—it's unbelievably easy to bea minimalist but very few have made good minimalist art and I doubtthat anyone can explain the key ingredient. This is my excuse for notbeing sure what it is that doesn't quite work about Texturizer.Everything is lovely in theory, Coti K. provides slow mellow electronictones and noises and Nikos Veliotis plays bowed harmonics and othercello sounds on top of that. But somehow it doesn't quite gel anddoesn't get me into the zone. The electronic part itself is hard tofault; it has nicely unstable resonances that sound like they mightcome from feedback loops fed with ambient sounds, perhaps street noise.The cello part is perhaps the issue. My all time favorite musicalinstrument is the cello and I love what its overtones can do but here Idon't get the sense of a cohesive effect playing. Live improvised droneplaying (I presume is what's happening here) involves a generativeprocess of discovering the perfect sonority and then working it,holding it, keeping it and moving it around. There should be a balancebetween the freedom of the autonomous discovered sound to behave underits own volition and the control of the musician. Too much control andall we hear is the performer, too little and the sound's lack ofintrinsic aesthetics will show through. Veliotis is tending to theformer. It's as though he never quite finds his perfect sonority,passing over several good opportunities and dwelling on inadequate oneson a trajectory of his own that also fails to make sense as a celloimprovisation. As wallpaper Texturizer is entirely functional—areally rather enjoyable and unimposing accompaniment to ones work. Butclose listening reveals the absence of illusion. AntifrostThe world of drones is necessarily deceptive. The successful drone isalways an illusion—you wind up being drawn into a special perceptualstate that I call the zone,believing that you're listening to a complex world of fractionaldetail, motion, drama and beauty while it's perfectly obvious to thecasual observer outside the zone that it's just a bunch of tones, quitepossibly rather unpleasant ones. The conjuror illusionist's skills canbe explained, understood and taught but the inner workings of theconvincing drone illusion are, to me at least, very mysterious. Thesame mystery is at the heart of minimalism—it's unbelievably easy to bea minimalist but very few have made good minimalist art and I doubtthat anyone can explain the key ingredient. This is my excuse for notbeing sure what it is that doesn't quite work about Texturizer.Everything is lovely in theory, Coti K. provides slow mellow electronictones and noises and Nikos Veliotis plays bowed harmonics and othercello sounds on top of that. But somehow it doesn't quite gel anddoesn't get me into the zone. The electronic part itself is hard tofault; it has nicely unstable resonances that sound like they mightcome from feedback loops fed with ambient sounds, perhaps street noise.The cello part is perhaps the issue. My all time favorite musicalinstrument is the cello and I love what its overtones can do but here Idon't get the sense of a cohesive effect playing. Live improvised droneplaying (I presume is what's happening here) involves a generativeprocess of discovering the perfect sonority and then working it,holding it, keeping it and moving it around. There should be a balancebetween the freedom of the autonomous discovered sound to behave underits own volition and the control of the musician. Too much control andall we hear is the performer, too little and the sound's lack ofintrinsic aesthetics will show through. Veliotis is tending to theformer. It's as though he never quite finds his perfect sonority,passing over several good opportunities and dwelling on inadequate oneson a trajectory of his own that also fails to make sense as a celloimprovisation. As wallpaper Texturizer is entirely functional—areally rather enjoyable and unimposing accompaniment to ones work. Butclose listening reveals the absence of illusion.
The Eye: RELOADED!
Ten years ago, Brainwashed.com launched The Eye, one of the first regular music oriented video features online. Over the years, close to 150 mini documentaries were produced from live and interview footage with some of the most innovative acts. In the last few weeks, the videos have been re-visited, re-mastered, and re-presented on YouTube. We're excited for the new resolution, sound, and clarity of these features, along with the portability afforded by YouTube. Over the next few weeks we will be randomly selecting features on the home page here of Brainwashed but you can always Start at the beginning and see where it takes you!
