A Little Milky Way of Sound Day 11, Prahoxx, by Roland Kayn.
Prahoxx starts quietly humming, then moves to some of the most relatively raucous and ominous sounding events in this unusual Milky Way.
Jim O’Rourke, the endlessly hyphenated musician and engineer, took on the task of engineering and restoring these works from the DAT tapes they were recorded to. He was a long time fan of Kayn’s, describing some of his more adventurous attempts at electronic composition as “lame attempts at Kayn inspired music.” Mr O’Rourke, describing aspects of the recording, “But this does seem like it was Kayn’s ‘summing up’ of his work. At this point since I am working on it on a very microscopic level instead of a macro level, I am learning a lot about his work just by looking at the waveforms. I always knew phase relationship was a big part of how his pieces worked, but actually looking at it has been kind of eye opening.”
A Little Electronic Milky Way of Sound, Disk Nine: Qyrials I; Qyrials II, by Roland Kayn.
Just a reminder, our tyrant in a teapot would like nothing more than to have most of the Federal Government shut down, permanently.
As long as it doesn’t affect segments of the military, Dept of Homeland Security, ICE, or incoming tax revenue, he, and his brain trust, (Mulvaney, Bannon, Ryan, etc.) would prefer that the government gets a lot smaller. Preferably pretty much nonexistent.
A Little Electronic Milky Way of Sound, Disk Eight: Radox, by Roland Kayn.
Marking the half-way point through the Little Electronic Milky Way of Sound.
Kayn called his music as “Cybernetic Music”. “Cybernetics is a transdisciplinary approach for exploring regulatory systems—their structures, constraints, and possibilities. Norbert Wiener defined cybernetics in 1948 as ‘the scientific study of control and communication in the animal and the machine.’” Kayne’s music is almost post-human. One could imagine these music systems, put in motion, continuing on after their creator, or creators is long gone.
A Little Electronic Milky Way of Sound, Disk Seven: Ractil; Zearid, by Roland Kayn.
Continuing my daily Kayn.
Ractil and Zearid have a bit more harmonic content than many of the pieces so far. Sounding a bit like a steam powered calliope, on the deck of a starliner, as the ship tilts into the event horizon of a black hole.
A Little Electronic Milky Way of Sound, Disk Six: Aseral by Roland Kayn.
I was reading an article (Monumental late piece by composer Roland Kayn set for debut release) in The Wire Magazine, which talked to Kayne’s daughter Ilse about his work. ‘“He would always explain it with throwing stones in the water,” she says. “You get those circles… it’s about the crossings.”’ Another water metaphor, and an apt one.
Discrete events creating intersecting systems which go on to transform one another as they decay.
A Little Electronic Milky Way of Sound, Disk Five: Rosonic; Ilay by Roland Kayn.
Rosonic starts with cacophony, as if you are tied to the mast of a ship during a raging storm, and quickly quiets to near silence, punctuated occasionally by tonal and non-tonal events. I would liken it to swimming across a lake in a storm. Popping your head above water to take a breath, check if it is still storming, and then, submersing back under to the peace and relative quiet of the underwater world.
A Little Electronic Milky Way of Sound, Disk Four: Ykties; Naaps by Roland Kayn.
Ykties might be my favorite track, so far. Sputtering static and buzzing saws punctuated by moments of real beauty. What sound like underwater choirs and submarine pianos. Though, of course, that is just my schizoid human brain, attaching meaning to abstract electronic sound.
A Little Electronic Milky Way of Sound, Disk Three: Somitoh by Roland Kayn.
Maybe it’s that I listened to this on the bus, but Somitoh seems to have a little more of a menacing feel than the previous two disks. Moments of quiet punctuated by noises which sometimes sound like squealing pigs or deflating tires.