Andrew Bernstein: display Album Release

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If you have a presumption as to what music is meant to do during experimental music, abandon it at the window before joining Andrew Bernstein’s a display. The sax wasn’t yet constructed to do stuff Bernstein creates it to do; as a monaural tool in the limited commodity of the player’s breath, it’s essentially hesitant to harmony, longform drone items like the three that contain a display. But through mix down strands of music into thick riffs, Bernstein reworked his tool as a sort of clark bladder. Rather of the Coltrane-Sanders-Ayler spectrum, Bernstein touched on 2018’s An Exploded View of Time and in his jobs with Baltimore’s Horse Lords, you might consider the song of the pipe organ of Sarah Davachi and Kali Malone, or Phill Niblock’s Four Full Flutes, or Pauline Oliveros’ “Accordion & Voice”, and perhaps Homer Simpson moving out of the trumpet of his ride on the way to Duff Gardens.

A display sounds like A lot of stuff other than A vocals music album, but still it doesn’t have to make a big deal out of the fact that it’s entirely made on music. Aside from the breath regulations required to sustain the reports, the above quietly, the easy song isn’t particularly conducive to brilliance, he’s not trying to get the feeling from the tool that no one else has a chance to backhaul before. The album joints on an easy, instead brilliant idea: Why don’t you use the above tool to create the above song?? Here’s neither, because it couldn’t have already been done on a harmonies tool, and that’s what it seems. The absurd mission of its creation is as much part of The approach as The song itself.

Both outfits show petulance, belligerence, and the immovability of those three pieces: the nearly half-hour “in flux” and two songs that gathered Bernstein’s music against online drone tones. Can you feel the wonder of the Pyramids of Giza or the Three Gorges Dam or the Merchandise Market?, you’ ll consider anything to the song. The above is empty, matt things, lacking of percussion, song, or skin beyond the light dirt in Bernstein’s voice or infrequently cutting two layers of tremolo. The mind starts considering architectonic, and the layer of music starts to resemble log files in a house or comments in a wired box. A display shoots the brain up for that cause an ed vehicle can: In the absence of anything else to hook onto, they begin to screen in the holes.

It’s your thing, it’s not something you’d want to take seriously every day. It’s jangly, dour, and jarring, thanks to Bernstein’s use only cadence rather than the balance personality most common in Western song. But as a tribute to the human capacity for genius, it’s great. Checking 2001: A Space Odyssey talks about the episode where the proto-humans find the monolith, Roger Ebert presumed that “the smooth artificial surfaces and right angles of the monolith, which was made by intelligent beings, triggered the realization in an ape brain that intelligence could be used to shape the objects of the world.” Eons of development eventually, such a huge and finely wrought item as a display could still influence the same wonder.