WTM #1100: Minimal Zen Tek Dub

wReck thiS meSS ~ Radio Patapoe 88.3
Amsterdam ~ Ethno-Illogical Psycho-Radiographies
21 Juni 2010 // 16.30-18.30

“the future evolution of electronic music will steer this product of highly sophisticated technology towards a manifestation of precisely those ‘mystical’ and numinous ranges of experience which science was to have obliterated.”
• Wilfrid Mellers
“Everything should be made as simple as possible, but not simpler.”
• Albert Einstein
“Zen is a revolutionary new operating system based on the principle that computers should be simple. Stripped of unnecessary complexity, Zen allows the user to concentrate on what they want to do, rather than how they will do it.”
Zen Web site

Wreck ID > Sifichi vs b/art
Maiko Billy Original > Andrew Duke [Cognito]
Detroit: One Circle > Robert Hood
Three Places in New England [Charles Ives] > Boston Symphony Orchestra [Amerika in de 20e Eeuw / Deutsche Grammophon]
Music [The Conspiracy] > Ricardo Avocado [Jukebox / Electric Tones]
Ferrari > Mary Lou [Hit 9 Explosion / EMI]
Scientist Dub  > Black Friday
MegaMix > Herbie Hancock [Heat / JCI]
Six > Bass Communion vs Muslimgauze [Bass Communion v Muslimgauze EP / Soleilmoon]
De Auditie [Duif is Dood] > Toon Hermans [Dank U Wel Astublieft / WS]
Wisdom To The Wise (Red 2) (Robert Hood) > Dave Clarke
+ Guten Tag, Wie Gehts > Sänger & Sänger [Les 7 / Teleac]
Unziplog > Ashfelt [Clear vinyl single / i-Light]
Prospect II > Fluxion
Minimal-Techno Undr > Reason 4
Multi-Directional > Fluxion
Central Park in the Dark [Charles Ives] > Boston Symphony Orchestra [Amerika in de 20e Eeuw / Deutsche Grammophon]
Byzar > Byzar vs DJ Spooky [Necropolis: The Dialogic Project / Knitting Factory]
Central Park in the Dark [Charles Ives] > Boston Symphony Orchestra
Prologue/Soundcheck > Sub Dub vs DJ Spooky [Necropolis: The Dialogic Project / Knitting Factory]
Trace Prologue > Heterotopian vs DJ Spooky [Necropolis: The Dialogic Project / Knitting Factory]
Jingle Jangle > Ricardo Avocado [Jukebox / Electric Tones]
Dublo > Opiate [Jukebox / Electric Tones]
Dubsmash > Hyde & seek
Urania > Pan/sonic
End of Marvelous Night Outro 1996 > B/art

The construction of reflections of reality that highlight the hidden rhythms of reality are brought to the fore by an interesting side development – like sonic mushrooms that pop up over night under a shade tree. Minimal techno dub is something that appeals to my biorhythms and needs at this point in time. Listening to it is a little like reading zen haikus, despite their minimal and stripped down sounds, they reveal an entire world of bloated tensions in the world that runs predominantly on the periodic electronic stimulation, the overrated defibrillation of our society via hyper-consumption. 50% of people now name shopping as their favorite hobby. Many more percent have shut themselves off from intriguing new musics and are content to relive lives they never actually lived by listening to nostalgia-encrusted oldies or new regurgitations of glossy pop, hwere the sounds, the content, the presentation is identical to that of most advertising sounds – loud but unprovocative, annoyingly pervasive and never memorable because memorable would require investments of time to reorient one’s aesthetic, historical and social perspectives.
On the other hand, I also like some dubstep, which is a kind of hypertrophic, dub for the 21st century, doomsday sci fi + punky retooled dub beats, with purposeful, focused fixation on the enemy as contemporary hierarchies.

Wilfrid Mellers in Music in a New Found Land makes the interesting comment that when we listen to fabricated or re-processed versions of tribal or folk music[s] we can “momentarily and near-infantinely… live in the noise’s process as though we…” [p xx] were actually participating in a real folk song or dance. Mellers further notes “that the future evolution of electronic music will steer this product of highly sophisticated technology towards a manifestation of precisely those ‘mystical’ and numinous ranges of experience which science was to have obliterated.” [p xxiii] This is of course is different from the way that capitalism rips us from our moorings, tears us out of the ground free of our roots and then tries to market roots and sell them back to us piece by piece. Global capitalism has exacerbated mass migrations, displacements, exile and alienation… Capitalism is beyond nationality and the cause of economically generated diasporas.

And yet music, global music, universal voices of universally understood music[s] tout this same floating world citizenship beyond borders. Nomads do not need nations, do not desire national borders to restrict their movements and so the cyber nomad was born, in opposition to the global capitalist and yet having similar objectives – circumventing the national, defusing nationalism…

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