Music Production

Felder Notes:

I found a comfortable seat, leaning my head back against the wall. For the next 90 minutes or so, I listened. Binaural is how I would describe the experience. Sound was at play, emerging, receding, blending, through 16 channels. The phasing, following the sound, slowly rocked my head to sleep, though this too was continually disrupted through moments of silence, and eruptions cacophonous to rouse my head back to attention, inevitably falling back to the seemingly innumerable permutations.

I hadn’t listened to Jan St. Werner’s Felder prior to this night, but I did the day after. Listening to Felder, there was an equanimity with your interpretation. I caught echoes of Bible in Felder, which were Bible’s echoes of Felder‘s, which were his during the four years he composed the album. The album is described as it is, contradictorally, as both a meticulous composition, but endlessly varying. Bible’s installation of the album, was the same, It encircles the mind with topology.

While listening, a conversation took place beside me. A museum director was catching up with a friend. They discussed the challenges of event-planning, specifically how art, music, format, and location all as being continuous challenges. Live music, for example, tends to divide their crowds at social events, concert-goes and minglers are separated by the performance. And sculptures, no matter their aesthetic, offend some. I caught the echoes of the conversation, like another speaker occasionally burbling forth, capturing and holding my thoughts.

These topologies, places and spaces, were in the air, to use the presentist sentiment. The fields of sound, connected, disparate, isolated, communal, and the impossible-to-fulfill need for unity. I felt the artistry of respect and need for community in the museum director’s utterances, while he articulated the requisite isolation in communal spaces.

Now several days after the show I’m still in a mental echo chamber – the equivalent of the unmoored synapse, with both unknown start and destination, but holding its purpose closely. Or the datagram, the connector in a frame relay network, again a connection less purposeful conveyance. Bible’s wireless speakers, are similarly performative – an interpretive conveyance, channeling back to Bible, and to Werner and their endless variant utterances, rousing and lulling me through their frameworks, in turn my own.

Categories: Music Production, Reviews

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