#cbmaterial

[amamaterial]

(cbmaterial)

some field recording in Cambodia.

[pricetracker-blog]

Radiator Fischer Elektronik FK 216/SA-CB

DescriereDate tehniceTip: FK 216/SA-CBMaterial: aluminiu anodizat negruMontaj: adecvat inclusiv pentru montare vertical?Pentru carcas?: SOT 32 / TO 220Rth: 15 K/WDimensiuni: (l x Î x A) 34 x 12,7 x 25,4 mmConform RoHS: da

Pret recomandat: 3.5 RON

de la German Electronics

[chilleststateofmind]

Finally Finished. https://soundcloud.com/ive-4/sets/foursixteen #InkredibleMinds #StadiumMusic #CBMaterial #DiqueMusic #Listen #NonProfit #Listen

[amamaterial]

and sometimes, it coils back again, and I feel as sad as ever.

[amamaterial]

John Maus. Why the fuck is everybody suddenly talking about John Maus. First time I heard about him was about a year ago, a friend I usually trust for his musical taste and who I had asked for anything to listen to, had given me "believer". I found it utterly unbearable (and what about that terrible american brat haircut). Cheap new wave (or synth pop or whatever), misplaced nostalgia, tune ok, but why should I care, not for me dude, I've known the eighties, it was at same same time much better and an absolutely depressingly shitty era, I don't need any fake vintage sounds or else to emphasize that. A friend of mine once said that the problem he sees with todays music, is that youth does not seem to be able to invent the future. The new/*- wave sounds were inventing the future, or at least creating an escape lane. Reusing all this now, for a very similar result seems to me no more than reinventing the wheel. Obviously, he's a very brilliant guy. I've been watching/reading quite a few interviews lately or reading that book length stuff on adhoc (http://adhoc.fm/post/re-dear-john-maus-how-are-you/), (I have very long bus rides...); and I really enjoyed it. This hot, passionate speaker, chaining logical assertions, (and with that kind of non-linear logic it seems you can afford in the Humanities...), he is a good spectator sport, isn't he? I get it, the kind of enthusiasm one can obtain relating one concept to another, or, as far as I'm concerned, developing a math proof, it did give me the intention to go back to anything philosophy some time soon, reminding me how precise vocabulary really expanded one's own experience of life. Then there's this whole political envisioning of pop music. This is probably what vexes me the most, I completely concur with most of the ideas he develops, but, although the live sessions look extraordinary, I quite don't get it through the music itself (whereas everybody else seems to do!). Sure, as I understood it, using for instance liturgic musicology standards to push some gimmicks of the society of spectacle, that's clever. And while it's the sort of aim I thought would repel those people I know who love Maus's music, I'd go for it, anytime (although I'm always ambivalent, I'll always claim first 'no dogma!' but aware that anyways, it's always hiding we'd better consciously /radically/ use it). But, I didn't hear that for many hearings, and I felt stupid and sorry for myself. I do love when I come to finally understand how a song works and it's complex enough so that I have that overwhelming feeling, finding the right angle for an unpolished gem to eventually flow its light directly. Maybe it's already too polished here for me (or that might have been the point that I missed). Maybe that prevents me from really getting drowned although a mix of teenage angst and existential resignation should be right up my street (and I always appreciate a good combine song, having spent enough years in rural areas and I even did a very naïve piece based on recordings of night harvests [ https://soundcloud.com/cbmaterial/night-harvest ])... well again, intellectually I'm all for it, but it seems I'm kind of hermetic to its musical substrate, to put it snobbishly. Or, maybe it's simply that I'm not into pop music (which I already knew). He writes you can't say a "landscape painter has done nothing new because the landscape he painted was already there" (although he was talking about Ariel Pink whom I never got into, I'm pretty sure it he also meant it for himself). But how can you tell creativity from forgery when you use the same brushes and the same pallet (he probably wouldn't agree about the canvas though) ? Ok, anyway, if not for the tools, then for the subjectivation through the landscape. This, I see only (but masterfully) in the live sessions. They do make the picture consistent. And so naturally, about music and sexuality/sensuality at the end of the adhoc texts ("a perfect correspondence between the sonic mediacy of the work and seeming libidinal constitutions of the figures responsible for setting them forth" - how beautiful is that?), well of course it's trivially true (at least the parts I understand), (and I'd take a hug from Panda Bear any day), and he puts it very nicely (and oh those love letters, how heartbreaking, how blind and desperately clairvoyant can we be at the same time, when we want to believe in something we wish so much to be shared, while, how painful it might be, it's always just a construction of one own's mind, a personal autopoietic brainworm - Agapé yo)

[amamaterial]

(en fait il est chiant ce morceau, mais j'arrête l'acharnement.)