ANTHONY MOORE – Arithmetic In The Dark

Touch

In the liner notes, Anthony Moore – the co-author of one of my all-time favorite songs – talks of “the unique possibility offered by sound, that of distinguishing simultaneous differences”. In another section of his introduction to Arithmetic In The Dark, he states that “saccades and oto-acoustic emissions are evidence that perception is far from passive reception”. Not a truer word. “Passive reception” is in fact an outcome of the disgraceful condition which isolates will-deprived people, as opposed to human specimens who need no external authority to decide how they should think, eat, vote and – in general – behave.

The question arises: are the aforementioned perceptive possibilities pursuable by everybody? As one observes the reaction of an average individual subjected to certain types of aural stimulus, or to a reiterative selection of sonic grains, the answer is an unmerciful “no”. Presumed evolved persons simply refuse to conform to substances that do not fit in their phobic requisites: repetition will upset them, whereas selected waveforms cause out-and-out interior disruption. Risible theories about healing vibrations – also known as “inevitably consonant placebo effect” – are ceaselessly spewed around; needless to say, all of them entirely miss the point of what can’t be understood without being born in sound. For the latter is a gift, not something that can be taught or applied to miserably anthropocentric conceptions of “perfection”.

Still, in our residual hopes this album may act as a preliminary training for minds struggling against the quicksands of enforced formulation, in order to explore the realms of non-intellectual discernment. Its constitution merges intelligently designed resonant materials – including processed voice – with minimalistic expansions of sentience. Some of the traits are extremely soothing in their indisputable profundity; other episodes suggest alternative routes, fragmenting the mechanisms of apprehension while structuring the cerebral polyphony invoked by the composer. Two pieces featuring the psaltery as a primary source depict at best the correspondence between a vanishing self and a group of beneficial frequencies. Because when all is said and done, what we’re dealing with here is exactly that: a focused musician suggesting practicable paths to an enhanced cognizance.

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