About my music and noise
My music is a flow of sounds, noises, forces, it develops to a point where it goes beyond itself. The speed with which different sound elements follow each other, and the density with which they superimpose vertically, are so great that a sort of overload occurs, one which transcends the restlessness of arousal, like a film run through at a too hight speed.
The occasional passages with tones, harmonies and sounds in a more "normal" rate can, in context, seem almost banal - a measure of the distance we have travelled in the music. The intuitive molten metal brutality of the music brings the player into the energy of a hot improvisation. A new music is created, a new speed of thinking and feeling where the intellect meets the manic raver. We experience an energy born of rapid movement, sound, noise, flow and expression. The music does something palpable to its listeners, or at least incites them to a form of action, of awakening.
The most immediate audible characteristic of my music is its noisiness.
Abrasive, loud, fast.
The textures and rhythms are never sweet or satisfying in the conventional sense; one has only to hear the primal
screams of Pig iron (The celestial fire CD/ANKARSTRØM-Ø10 (Dror Feiler Solo) for tenor saxophone & amp;live electronics)), the punk-free improvised thrash of Tio Stupor (Saxophone con forza PSCD 81 (for alto saxophone & live electronics)) or the new composition Ember (for symphonic orchestra & electronics (1997 Donau Eschingen festival commission) to realize that neither a pathetic World music prettiness, a pretentious new romantic resolution, nor new music academism has any place in those work of music, except as an antagonistic element.
Nor do these compositions allow the conventions of modern and contemporary music unproblematically. My music uses "noise" that is "noise in itself" but noise, in this connotation, is not simply a haphazard or natural sound, the audible "background" that encroaches on a work such as Cage's 4'33, as the audience is forced by the tacit piano to listen to its own shufflings, or to the urban soundscapes that emerge through an open window. It is a noise that is always impure, tainted, derivative and, in the Romantic sense of the term, beautiful like in Alka, OpFor & DiaMat ((FYCD 1007) By the Too Much Too Soon Orchestra).
Noise, in the widest possible sense, is one of the central elements in my music as for its more popular "musical cousin" the Noise music. The abrasive raucousness in the music is an attempt to alter how people hear.
Noise, as sound out of its familiar context, is confrontational, affective and transformative. It has shock value, and defamiliarizes the listener who expects from music an easy fluency, a secure familiarity (it can be a "modern" one), or any sort of mollification. Noise, that is, politicizes the aural environment.
The music is difficult in the sense that Adorno finds Schoenberg's music difficult-not because it is pretentious or obscure, but because the music demands from the very beginning active and concentrated listening, the most acute attention to simultaneous multiplicity of movement, forces and expression, the renunciation of the customary crutches of listening which always knows what to expect and the intensive perception of the unique, the specific and the general. The more the music gives to listeners, the less it offers them. It requires the listener spontaneously to compose its inner movement and demands of him not mere contemplation but praxis.
Stockholm, February 1998
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