What philosopher has not
In northern Manhattan in the city of New York the apartment was on the first floor. It faced both a small courtyard and Fort Washington Avenue. It received very little sunlight and people walked by day and night to get to the subway a few blocks up the street. We put architects' drafting paper on all the windows to let in light but also to block out any intruding views. It felt like living in a New York that is permanently covered in snow, similar to the ground floors in Venice that are permanently under water.
We woke up in the middle of the night and could only see a faint glow of the white windows lit up by the street lights. No matter what time of the night, it was always the same. We had to listen to know what is going on. There was a bar across the street and depending on the slur and agitation of voices we could tell time. But after 2 o'clock there were no longer any clear indications. There were only small noises. Footsteps, water flowing down pipes, mice walking in walls, insects crawling.
The realm of the shadows is the paradise for dreamers.
The world of shadows is the world of shapes we have to interpret, they are not the thing itself, but silhouettes of what we assume to be for real. The world can have no shadows, but shadows have a world from which they are only signs of.
Clearly, the music of the world of shadows escapes our system of 12 fixed pitches that evenly divide the octave unless we desire to read between the lines. The music of ghosts is located here, in the movement from one pitch to the next, in the ambivalence of moments when one note has been left and the next one is not quite yet reached.
This we might call Antediluvian. It is a pre-music that distinguishes itself from meta-music - a music about music - because it appears to exist prior to music, a priori, and thus lacking experience. Just as we know nothing outside of our experience, we may conclude that the Ghost of New York weaves in and out of the framework of experience itself.
To truly understand what we experience it is necessary to see, but not with our physical eyes. To see beyond the physical experience of sight, with its spectra of light, we must "see" the music, but with the inner eye that is located inside our head.
The music of the Ghost of New York is projected inside the listener's head. In polar opposition to the common illusionary stereophonic projections which take place between 2 speakers and extend this via reverb into the distance, this ghostly music moves - reverbless and purely through frequency modulation - between the speakers and extends outwards, reaching for the listener's brain.
Thence originated the present music,
* Derived from Immanual Kant "Dreams of a Spirit-Seer"
|Catalog No:||FLX11 (LN16)|
|Title:||Ghost of New York|
|Sound Artist:||Frank Rothkamm|
|Visual Artist:||Nina Schneider
|Parts:||2 panel folder(4/4)
2 panel tray card(4/4)
Rothkamm is a master alchemist, shaping the base metal of raw sounds into the gold of sparkling stories.|
S:M:J63 HEATHEN HARVEST
Puzzling release of rather queasy and bewildering electronic music!|
Ed Pinsent SOUND PROJECTOR
Bears little resemblance to anything musical - random synth beeps and blips and whirrs|
Sven Klippel MUSIQUE MACHINE
Spectral and detailed study - "electronic voices" used to metaphonic phenomena|
Aurelio Cianciotta NEURAL
Obsessive attention to detail|
Willsk LEICESTER BANGS
retro sounds of an old video game crazy - devoid of any atmosphere - uncommunicative|
Michele Viali DARKROOM
Top Notch Records 2009|
Per Svensson SOUNDOFMUSIC
Cliched - Sterile - Been done so often before|
Steve Mecca CHAIN D.L.K
Every so often, the music must crash and start anew|
Shannon Smith FOXY DIGITALIS
Hymn to the insufficient definition of a liquefied polymorphism - most evident exemplifications of a street man's failure to realize that Do-Re-Mi-Fa-Sol-La-Si is not the centre of the cosmos.|
Massimo Ricci TOUCHING EXTREMES
Excellent - Rewards and supports immersive as well as casual listening.|
Chris Cutler RER
Works from the analogue synthesizer, that depict quite well the hectic of the city|
Frans de Waard VITAL WEEKLY
Mixes in serious electronic research, absurdism, and dadaism with unequaled gusto - Marvelously destabilizing!|
Francois Couture CFLX