He Comes Back from a New Music Gig Feeling Disgruntled!

Monday 23 April 2007

I have come to realise that, along with “Disco Polka” and “Contemporary Christian”, the most contemptible pairing of words in the world of music is “Spatialised Electroacoustic“.
After going to gigs like this for years I realise it’s all the same. The same shiny crunchy timbre of over-processed sound, the same repeating regularity in the loops, the same reverb in the mix, the same mystification of the source material, the same ethrallment at reproducing a surface effect for its own sake, with no thought or mood to support it, the same lack of compositional shape, the same self-contained complacency in its aesthetic goals. It’s all déjà-entendu, without the spark of individuality present in any composer’s work to distinguish one example of the genre from another.
The technology reached a level of sophistication and accessibility in the 1990s that almost nobody has been able to transcend. Everyone is so beholden to the great, potential capabilities of the software that no-one working with it for long can resist altering their creative processes in a way that better accommodates that technological potential, at the expense of their true creativity.
(A visual example: try to find a scene of CGI landscape in a film that doesn’t have some birds flying over and through it.)
This is partly a problem of composers conceiving the music as being defined by its technical apparatus. There’s good contemporary, christian music out there, but it doesn’t describe itself as Contemporary Christian. Now that electroacoustic music is ten-a-penny, spatialisation is the new incursion of ossified academicism: there’s infrastructure and funding needed to support that, with the attendant accumulation of material resources to legitimise cultural authority that the music cannot substantiate on its own.

More Uigedail!