I made a conscious decision to compose, perform and record music as a solo artist around 7 years ago. I had played in many different bands, as well as different types of bands over the years. I began studying sitar but time schedules interferred with the education. The study actually taught me more about music in one year than I had learned in my entire life; the techniques of playing, theories of performance and composition changed my view point on music itself. I began practicing acoustic guitar in many different genres, blues, bluegrass, folk, and ragtime, but I found myself selecting music on the basis of what some imaginary audience might appreciate. It's akin to painting your house and selecting the color yellow because you think a higher percentage of people driving by will prefer a yellow house over a green one. I had to be comfortable with the music I was presenting, and I had to be honest with and true to myself. I've listened to many different types of music from day one, and been drawn to electronic music since the 1960's. Steppenwolf's "Magic Carpet Ride" and Iron Butterfly's "In-a-Gadda-Da-Vida" opened the path of appreciation for Wendy Carlos, Tangerine Dream and Kraftwerk, just to name a few. Having a third grade teacher introduce me to the art of Jackson Pollack yielded an influence and appreciation of avante-garde works. The road that got me to this place of present occupation has had many influential turns, and when I found that I am the type of person who's favorite Beatle song is "Revolution #9", I had to accept that I would never be satisfied playing in a A minor/G/F band.
Electronic Music performance and recording had always long been and expensive journey to embark upon. I studied electronic music at Florida State University in 1979, using a Moog 900 series synthesizer and tape studio techniques. The presence of the low-overhead performance, and certain products have developed a media which is quite easy to work with. The ability to use a guitar as a primary instrument over a synthesizer, the improvement in quality of small effects along with the ability to interface a home computer to manipulate sounds, and proceed with mixing and recording has evolved the entire process from massively expensive to incredibly affordable. The cost of blank reel tapes would have prohibited me from even begining. One of the most overwhelming feelings of awe came from the mathematical discovery of the MP3 formatted disc. No longer was I limited to the 80 minute time constraint.
My aim became the production of music that provides an ambient background, unconstrained by time through works that last longer than the average workday, or longer than the period of relaxation the listener requires, or deserves. Providing music that is not intended to attract total attention of the listener, but music that the listener can enjoy, leave, and then return. Music that is not composed for the purpose of provoking awe from the listener, but music which could allow the listener to relax. I have read many definitions of ambient music, my two favorites are "silence enhancement" and "music that doesn't have to be listened to, but will present the listener with something of interest if the listener so desires."
I have begun to loose my fondness for the term and genre label of ambient music a few years ago. I have always had a problem with the classification of musical genres, even though they are necessary. The problem with the developing ambient genre is that it has become a way of defining passages of music, interpretations of music and potential marketing schemes. I have always considered the intention of ambient music as being it's defining point. As music intended to be in the background. The definition has grown to include music that winds up in the background, whether or not it is the intent of the artist. My opinion for this newfound dilemma has been brought about by a few incidents. Reading books or articles which describe everything in the terms of ambient, as if they are attempting to justify the existence of ambient music by proclaiming something in a more popularly accepted music genre as ambient.
I was personally introduced to the term ambient music by Robert Fripp, who, in a collaboration Brian Eno, had stated an aim to replace music played in the background in public areas (eg: shopping centers, elevators,
health care facilities) with something more pleasurable. As the times have changed, music now played in the background in public areas has become everything from bluegrass to rhythm and blues to heavy metal.
The music was replaced, but not with that which Mr. Fripp or Mr. Eno had envisioned. The musical genre they created fell into the classification of experimental or electronic music, and actually opened many doors, as well as many listeners to this musical genre. The problem arises when this musical interpretation begins to be overused, and grows larger when the definition becomes argued over rules that are set within an art
form that should not have boundaries. When the lines are drawn in the sand, the playground is no longer a fun place to be.
The major function I try to convey is that music is a form of art. I like to draw, and I consider my music to be drawings. I happen to do these drawings without a constraint of time, for I do not believe it should have a time limit. There is no reason for doing any act if the intention is to do that act merely to finish it. "Hurry up and get it over with" translates to me as "don't take time to enjoy what you're doing, just do it." Also, the question is not "How do I do a piece of music which has a long duration of time?" The issue is more about allowing myself to create music that has a long duration of time. Another development in my music is that the music itself has risen to a synergistic level along with the equipment being used. I have found that if I try to force something to happen, it comes out as a contrived mess, not worthy of being listened to a second time. If I allow the equipment to act as part of the composition itself, than the music becomes more honest, more pleasant. If music can be composed to express the dynamics, tone color, and range of a cello, than why can't it be composed to express those qualities which exist in an electric guitar going through various effects such as distortion, flanging and reverb?
So, where does that leave me? I would like to be able to, or shall I say, there is a need to, classify my music and place it into some type of genre. I consider it to be electronic music, but that has become beat orientated dance music. I intended it to be ambient music, but as stated above, I'm just not that comfortable there. I would like for people to listen to it.
Impressionism?
Surrealism?
Post 2K digitally enhanced sonic expression?
Avante-Garde Psychedelic Experimental?
Suggestions will be considered.
Van Gogh sold one painting in his lifetime. Knowing that is what keeps me going.
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