PureVolume

tidbit manifesto
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the history of electronic music is filled with little fortuities.

so is the music itself -- this is its experimental aspect.

creatio ex nihilo is a myth. to create means to organize chaos.

tangerine dream is the expressive, the dionysian, and kraftwerk is the constructive, the apollonian, and great e-music collides somewhere in between.

composition has always been a matter of procedure. great works happen by accident.

it's hard to live up to great accidents. the creative process is irreversible. (nietzsche enjoyed having zarathustra read to him.)

e-music is the affirmation of pure construction: everything is turned into material, everything is dominated from the outside.

the principle of subtractive synthesis applies to the creation of sound in general: the initial material doesn't really matter -- as long as it's rich enough, like a sawtooth wave -- because anything can be carved out of it.

the counterpoint in e-music is slow pads and fast beats, barber's adagio and platoon. the body is pulverized but the mind transcends.

moment-forming is the single imperative of all e-music.

the transitions must form a synchronic manifold.

pop meets stravinsky: navigate a course between well-worn associations and shock.

sing your melodies, don't pound away at the keyboard.

copy/paste is our most important tool. use and use again from bar to bar and work to work.

make figures and transform them: remnant of subjective mediation.

is repetition a formal regression? listen to the opening bars of tristan und isolde.

e-music is completely disoriented.