Before finishing a project, start a new one. Because most of my projects take a long time to finish, it seems to have become a sort of motto. So embedded you’ll find two low-fi recordings to lead in an idea I’ve been playing with since 2011. The first one ‘Occlusion’ was recorded entotic / endobinaural, I haven’t decided on the specific term yet – and to my knowledge this is the first of its kind. What I did was insert my custom-made in-ear monitors and use them as microphones instead. This way you can hear what I hear inside my head when I play clarinet. Around 1:40 all you hear are contact sounds from the keys passed through the metal, wood, joints and mouthpiece into my teeth, scull and finally to the residual volume behind the in-ears in my ears.

The second recording ‘Seclusion’ I made years ago (then still playing my Paul Dupré) in a full anechoic chamber. This means that all the acoustical energy from my clarinet was instantly absorbed by the space I was playing in, resulting in a sound completely stripped from all reflexions. If you’ve never been in an anechoic chamber, I deeply advise you to do so. It is quite the experience. And to quote John Cage:

“Going into the anechoic chamber at Harvard University, I expected to hear no sound at all, because it was a room made as silent as possible. But in that room I heard two sounds. And I was so surprised that I went to the engineer in charge … and said, There’s something wrong, there’re two sounds in that room, and he said describe them, and I did, one was high and one was low, and he said, the high one was my nervous system … and the low one was my blood circulating. So I realized that … I was making music unintentionally continuously.”

After which he stated:

“until I die there will be sounds. And they will continue following my death. One need not fear about the future of music.”

 

Now I hardly ever try to use music to make a “statement“, but I wholeheartedly join John in the above. And ask myself what will become of music when there is no space for it to sound or resonate? No medium left to convey it? When no one is there to hear it? When all there is left is the unreflected, inward and silent call of the musician? For these questions are slowly becoming the reality we live in today. We are replacing silence with music stripped from every reflection. This is what I intend to research and capture.

 

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