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Drew wrote:
You mentioned that your companion at Sonar felt their performance a sham.
This is a feeling shared by many people who try to translate the more or
less open process of composing music in a studio into a 'live' performance
context . . . It is surely up for grabs now more than ever where the locus
of
perception will come to rest. When within a single event the ground
continually shifts beneath your feet the chance of being sucked beneath
murky waters ('swamped' by such a soundfield) becomes something localised,
and immersion need not imply indifference or a simple surrender to the
beat, drone or whatever sound is involved.
David replies:
Well, yes, that's the theory, and I'm pleased to see so much optimism. But
a lot of it is theory. A corner was turned with multitrack recording
towards the end of the 1960s - the prog-rock response was to go on the
road, Spinal Tap style, with a convoy of trucks carrying vast amounts of
equipment. In a sense, that response still holds. Arguably, a powerful
computer continues that dubious 'tradition'. Current technology generates
such a huge amount of utopian, visionary belief that it will all come right
in the future. Is it really true that 'all that matters is the sound
crackling through a modem'. Not for me . . . either as a performing
musician, a composer/musician who records, a critic or a listener . . .