Unser Album des Monats jetzt mit limitierter 7" im Online-Shop von Raster-Noton kaufen

“Multistability“, das neue Album von Snd-Hälfte Mark Fell, das letzte Woche auf Raster-Noton erschienen ist und in unserer aktuellen Ausgabe zur CD des Monats gekürt wurde, gibt es im Online-Store von Raster-Noton jetzt in einem Paket mit einer limitierten 7″, auf der auf beiden Seiten dasselbe Material ist, nur einmal läuft die Nadel von innen nach außen und das andere Mal von außen nach innen. Was es damit auf sich hat (und natürlich hat es das), erklärt Mark Fell in folgendem Statement:

After a recommendation by my friend Yasunao Tone, I read Husserl’s ‘Phenomenology of Internal Time Consciousness’ and became interested in his uses of music to illustrate the relationship between past, present and future. Around the same time I came across the work of Slovakian mathematician Metod Saniga who deals with ‘psychopathological’ experiences of space and time. Saniga has developed a mathematical model which accommodates the feeling of time standing still, speeding up, going in reverse, infinity and other ‘non-normal’ encounters with time associated with drug use, near death experiences and neurological disorders.

Music composition is often thought of as the positioning of sounds in a temporal plane, and the vast majority music composition softwares follow this paradigm. It is also true of how music is recorded and distributed music on vinyl, tape, compact disc and mp3. The difference between these formats is usually described in terms of sound quality, but for me the most important difference is in their treatment of time – how they store and give access to temporal material. In the case of vinyl the observer can see directly where the needle is – there is no abstract representation of the needle’s place in the duration of the piece – it is actually there. For me, the appeal of vinyl is not to do with warmth of sound quality, or its volatility, but in its ‘concrete’ treatment of time.

I had heard that it is possible to master a record to play from centre to edge. This technique was often favoured for recordings of classical music as the increased dynamic range at the outer edge of the disc is ideal for playback of musical crescendos. I considered making a record with a sound file that played forwards on side 1, from edge to centre; and backwards on side 2, from centre to edge. But this simple reversal of sound was not that interesting, I was more concerned with the reversal of ‘time’ at an abstract level. If I go for a walk, on my journey back the objects I encounter do not appear to be reversed, they are the same object just in reverse order. I decided therefore to construct a simple sequence of music where a list of timed events triggered sounds in a given order. I played these as forwards on side a and backwards on side b. Here the music is backwards but the sounds themselves – the objects – are forwards.

In this sense the 7” record explores the interplay between three treatments of time: 1, the ordering and reversal of musical notes; 2, the direction of sound playback; and 3, the journey of the needle from the edge to the centre of the record and back again.

I hope you enjoy listening to this record.

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