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"The process used for producing Dual Mono was designed to destabilize established habits and predilections in favour of responding to the music in at least subjectively new ways. It was also designed to reduce the illusion of control, to become more responsive to and accepting of unpredicted outcomes, and to give the music—as much as possible—a voice less tampered with.
Each piece for Dual Mono was authored by only one of the participants, the other receiving MIDI data and being limited to revoicing the composition. With a general goal of maintaining a result that was somewhat, though not purely, minimalist in sympathy, each piece was then assembled in its final form by the originator, now limited to controlling relative levels, crossfades, editing and processing.
The final fifteen pieces that span two CDs embrace a range of emergent, generative and traditional forms that express a calm, informed ambience amid unsettled, shifting soundscapes. Of an earlier collaboration, Textura stated “the sheer density of sound presented in representative settings such as Loess , Talus , and Oram is incredible, and one comes away from Field Characteristics convinced that the claim regarding the hundreds of sounds involved in the recording s presentation is clearly fact, not hyperbole.”
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