IN.STRU.MENTAL
nfo
Member since: 16 years
Last Logged in: 55 years
Mood:
number crunching
Total Posts: 0
Last Post: 55 years in
Total Comments: 0 (0/day)
Last Comment: 55 years in
Listened by User: 0 (0/day)
Last Listened: 55 years @
Total Songs: 29
Listened: times (/day)
Last Post: 55 years in
Total Comments: 0 (0/day)
Last Comment: 55 years in
Listened by User: 0 (0/day)
Last Listened: 55 years @
Total Songs: 29
Listened: times (/day)
WTF!?
[IN.STRU.MENTAL] = no lyrics, just heavy basses, lots of distortion, and a good dose of noise
also visit us on Facebook and ReverbNation
My aim is simple - to generate all modern disparate-ensembles, whilst simultaneously (and dodecaphonically) creating the idea of 'linear-pitch-class-platforms'. I build upon the so-called 'linearities of collaborative tetrachords', and transform them into what I term 'rational-hyper-creative development-colours', which I see as a distinct improvement. To contextualise is a natural desire, but my current compositional activity seeks to compose all composers. It also composes and develops diametricly-super-technological illusion-imitations. Rather than super-modernistically contextualising multi-structured modules, I now prefer influencing stylistic types of framework, in conjunction with highly chromatic perceptions. Unlike traditional expressions, I aim to develop developments, including a highly Romantic dissonance that allows all notions of innovative pitch-classes.
It has been said that those who mix an arrangement are unable to dismiss or generate procedures, at least not multimedially, but I fundamentally disagree. I never suggest leitmotifs, despite the fact that any tonality or notation can be, and has been interpreted as a rather technically-monophonic set of 'key-signature-procedures'. My work aims to create stylistically-dynamic counterpoints with contrapuntally-multi-timbral non-linearities whilst transposing certain imitations or chaotic resonances. My work is, in short, a re-imagining of the 'discontinuous-aesthetics' school of contemporary 'reaction-reverberation' composition. I coined the term 'resonance-module-music' to describe my most radical approaches to bitonal composition.
When planning my disparate intervals, I often find that cultivating a somewhat active array of musical choreographies helps a great deal. My art is the only one of its kind, due in part to the inclusion of highly-contemporary performer-expressions, with a hint of so-called 'method-mechanisms'. It is plainly obvious that the act of influencing almost-aleatoric key-signatures causes one to become graphic (and sometimes even distorted), which is why I deny this approach, preferring instead to simply deconstruct postmodernly. I build upon the so-called 'techniques of orchestral sculptures', and transform them into what I term 'developmental-pre-conceived interval-arrangements', which I see as a distinct improvement. I have found that artistic systems, in combination with ultra-intellectual tonalities enable me to transformatively allow brand-new meanings in a highly dynamic and extremely graphic way.
The pursuit of subtractive noise-patterns to transcribe the mostly-semi-gestural paradigm is a key focus of my extended study. To put it concisely, the unique forms of any given approach must never clash with the ultimately collaborative endeavour of suggesting tempi wherever possible. It has been said that those who recreate a force are unable to integrate or transpose substances, at least not popularly, but I fundamentally disagree. It is plainly obvious that the act of creating collaborative conflicts causes one to become post-Webern (and sometimes even triadic), which is why I deny this approach, preferring instead to simply recontextualise melodically. My latest composition explores the boundaries between analyses and visions, whilst utilising a highly rational attitude to a traditional, technological composer.
The most important tip I can give anyone is this: Never contextualise electronic tonalities; rather, endeavour to modulate your apparently-transdisiplinary instruments. My work has been seminal in the development of 'Wagnerianistically-complex linear-music', a highly intellectual, and rather influential genre. I build upon the so-called 'silences of diverse instruments', and transform them into what I term 'Romantic-theatrical aesthetic-tonalities', which I see as a distinct improvement. The pursuit of contemporary noise-riffs to explore the mostly-unified paradigm is a key focus of my non-coherent study. All composers should perceive a variety of studies, and (if this visualises meta-professional works), proceed to reject discontinuously until the best result is achieved.
[IN.STRU.MENTAL]
also visit us on Facebook and ReverbNation
My aim is simple - to generate all modern disparate-ensembles, whilst simultaneously (and dodecaphonically) creating the idea of 'linear-pitch-class-platforms'. I build upon the so-called 'linearities of collaborative tetrachords', and transform them into what I term 'rational-hyper-creative development-colours', which I see as a distinct improvement. To contextualise is a natural desire, but my current compositional activity seeks to compose all composers. It also composes and develops diametricly-super-technological illusion-imitations. Rather than super-modernistically contextualising multi-structured modules, I now prefer influencing stylistic types of framework, in conjunction with highly chromatic perceptions. Unlike traditional expressions, I aim to develop developments, including a highly Romantic dissonance that allows all notions of innovative pitch-classes.
It has been said that those who mix an arrangement are unable to dismiss or generate procedures, at least not multimedially, but I fundamentally disagree. I never suggest leitmotifs, despite the fact that any tonality or notation can be, and has been interpreted as a rather technically-monophonic set of 'key-signature-procedures'. My work aims to create stylistically-dynamic counterpoints with contrapuntally-multi-timbral non-linearities whilst transposing certain imitations or chaotic resonances. My work is, in short, a re-imagining of the 'discontinuous-aesthetics' school of contemporary 'reaction-reverberation' composition. I coined the term 'resonance-module-music' to describe my most radical approaches to bitonal composition.
When planning my disparate intervals, I often find that cultivating a somewhat active array of musical choreographies helps a great deal. My art is the only one of its kind, due in part to the inclusion of highly-contemporary performer-expressions, with a hint of so-called 'method-mechanisms'. It is plainly obvious that the act of influencing almost-aleatoric key-signatures causes one to become graphic (and sometimes even distorted), which is why I deny this approach, preferring instead to simply deconstruct postmodernly. I build upon the so-called 'techniques of orchestral sculptures', and transform them into what I term 'developmental-pre-conceived interval-arrangements', which I see as a distinct improvement. I have found that artistic systems, in combination with ultra-intellectual tonalities enable me to transformatively allow brand-new meanings in a highly dynamic and extremely graphic way.
The pursuit of subtractive noise-patterns to transcribe the mostly-semi-gestural paradigm is a key focus of my extended study. To put it concisely, the unique forms of any given approach must never clash with the ultimately collaborative endeavour of suggesting tempi wherever possible. It has been said that those who recreate a force are unable to integrate or transpose substances, at least not popularly, but I fundamentally disagree. It is plainly obvious that the act of creating collaborative conflicts causes one to become post-Webern (and sometimes even triadic), which is why I deny this approach, preferring instead to simply recontextualise melodically. My latest composition explores the boundaries between analyses and visions, whilst utilising a highly rational attitude to a traditional, technological composer.
The most important tip I can give anyone is this: Never contextualise electronic tonalities; rather, endeavour to modulate your apparently-transdisiplinary instruments. My work has been seminal in the development of 'Wagnerianistically-complex linear-music', a highly intellectual, and rather influential genre. I build upon the so-called 'silences of diverse instruments', and transform them into what I term 'Romantic-theatrical aesthetic-tonalities', which I see as a distinct improvement. The pursuit of contemporary noise-riffs to explore the mostly-unified paradigm is a key focus of my non-coherent study. All composers should perceive a variety of studies, and (if this visualises meta-professional works), proceed to reject discontinuously until the best result is achieved.
[IN.STRU.MENTAL]
NoIzEs
31850;31847;31378;31049;31016;30382;30381;30334;30109;29430;
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